Movieline's Scores

  • Movies
For 692 reviews, this publication has graded:
  • 70% higher than the average critic
  • 2% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 4 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Somewhere
Lowest review score: 5 The Roommate
Score distribution:
  1. Negative: 41 out of 692
692 movie reviews
  1. Barney's Version is too much of a sprawl to have much of a lasting emotional effect.
  2. Most successful are the scenes involving Marcus and Iris, a 10-year-old girl who grew up fatherless and watchful of her tumultuous surroundings.
  3. Well-paced, well-performed and full of visual wows, The Voyage of the Dawn Treader bobbles a hectic story by stopping just short of committing to its grounding themes. Its hardly sacrilege, but it does seem like a shame.
  4. The story had great optics but not a lot of action, I suppose, though as a child who walked around in towel-fashioned headdresses to simulate the long hair my mother wouldn't let me have, Rapunzel's was the story I longed to thrill to on the big screen.
  5. The idea, in the end, is that even lovable loonies can do a lot of damage.
  6. Too often the story feels like it's being mined for recycled beats.
  7. Built for speed, and for an action-savvy audience who can appreciate a throwaway vengeance flick for exactly what it is.
  8. Timoner attempts - with talking heads, travelogues, and a little alarmist flair of her own - to articulate Lomborg's central idea that not doing enough good might be the same as doing harm.
  9. Nothing says "Awards Season" like feel-bad cinema, and with Biutiful, Iñárritu hauls out the big guns. He also, maddeningly, has one hell of a weapon in his star, Javier Bardem.
    • 68 Metascore
    • 70 Critic Score
    It's a low-blood-pressure version of the kind of thing James M. Cain used to do in his sleep, and its filmmaking accomplishment is as minimalist as its narrative ambition is minimal.
    • 66 Metascore
    • 70 Critic Score
    Weir's artisan's sureness grants a bewitching calm - his trademark ambience - to this harrowing tale.
  10. It's all just too cute for words, and more's the pity. Because in the end, No Strings Attached is more meaningful for what it does rather than for what it says along the way.
  11. A small movie with modest ambitions, and accordingly, it packs only a modest emotional punch.
  12. Cold Weather is partly a movie with an actual plot, not just a portrait of young twentysomethings adrift in unfulfilling circumstances.
  13. I salute the effort to go somewhere strange in Mars Needs Moms; if only a fully realized idea - and not the same, barely concealed right-wing rap, different planet - had been the destination.
    • 45 Metascore
    • 70 Critic Score
    Radnor is an overprotective first-time director, and the final effect is like watching a film with elbow pads, a helmet and training wheels.
    • 57 Metascore
    • 70 Critic Score
    Fortunately, the movie is studded with performances that demonstrate the cast's skills, such as Kristen Wiig's soggy white-bread delusional Christian Ruth.
  14. Thus ends one of the most understated shark-attack sequences, ever; it's almost Bressonian, except it's not boring.
  15. Prom has sweetness, nonthreatening conflict, and enough personality to distance it from the chilling anodyne of Disney's television vehicles.
  16. Foster's performance is crisp and forthright and surprisingly moving. There's something affecting about watching this disciplined, no-nonsense actress deliver her lines to a hand puppet - she's always game, if not exactly relaxed.
  17. Watching True Legend, a wuxia film crossed with classic vaudeville, it's hard to figure out who's borrowing from whom anymore.
  18. Divided into three chapters in a largely unsuccessful attempt at structure, the voice and the style don't combine as explosively as they should to pick up the material's slack.
  19. So while X-Men: First Class at first takes its source material with just the right amount of self-deprecating seriousness, it founders in the second half, when it becomes overburdened with squirrelly plot mechanics and an excess of self-evident dialogue.
  20. The whole enterprise is surprisingly painless, albeit in an icy-cool, numbed-out way.
  21. Bichir - who played Fidel Castro in "Che" - resists the pathetic impulse, bringing dignity and distinction to a man who wakes up every morning knowing it's not just his burden but his job to be invisible.
  22. Bay doesn't care about your soul, he just wants your money - but he at least makes sure you go home feeling exhausted and spent rather than vaguely dissatisfied. It's a fair exchange.
  23. As in "Country Strong," Meester's crack timing and irresistible poignancy illuminate a part that would leave other actresses simpering themselves off the screen.
  24. Aside from having murder on their minds, these three are a lot more well-behaved than the "Hangover" guys.
  25. It's an amusing enough story, all right, and it adequately fills up Tabloid's 88 minutes - but a minute longer would have been too much.
  26. This is a film that transcends "good" or "bad," "like" or "don't like."

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