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
    • 76 Metascore
    • 65 Critic Score
    Turns out to be a disappointingly standard addiction story in its second half also serves as a reminder that Hollywood tends to be more invested in these types of self-serious movies than most actual audiences.
    • 63 Metascore
    • 65 Critic Score
    Scripted by playwright Tom Stoppard, the film labors to fit Tolstoy's sprawling story into its two hour and ten minute runtime by drawing its characters with minimal lines.
    • 73 Metascore
    • 65 Critic Score
    The latter half of The Impossible is so disappointingly movie-ish, tying a bow on the events after portraying them too vividly to allow them to be wrapped so neatly. It wrings out tears with an industrious efficiency that leaves you feeling manhandled after the exhilarating, terrifying footage that's unfolded before.
    • 59 Metascore
    • 65 Critic Score
    Apatow's film comes across as overstuffed and understructured, a collection of elements that hasn't really been assembled into a story and could do with the backbone.
    • 50 Metascore
    • 65 Critic Score
    Beat by beat, Jack Reacher is just like Child's paperbacks in the best possible way: it's fast, fun, and smarter than it looks.
  1. Kári relies too heavily on the fleeting rewards of situation for the film to come together as an involving story.
  2. Designed to be both essential history lesson and costume weeper, Princess Kaiulani comes up short on both fronts: Deadly earnest intentions and lack of dramatic gumption ensure that the story of Hawaii’s favored daughter remains under-told.
  3. While Survival of the Dead does its best to work up a decent allegorical bent -- this time involving territorial pissing matches within a country under siege -- its power is diffused (and frankly, confused) by its execution.
  4. Straining for a timeless, family-friendly tone, Allen winds up with something closer to an unironically -- i.e. absurdly -- wholesome rehash of "Leave it to Beaver."
  5. Completely harmless and inoffensive, and at the very least, Shyamalan appears to be having a little fun here.
  6. Mirren tricked out in mid-70's pimp wear -- ahead of her time, she even brandishes a cane -- has a certain charm, but novelty alone can't keep Love Ranch's tiresome tropes and plodding storyline from dragging the film down through the Nevada dust.
  7. Based on a true story which director Marco Amenta explored 12 years ago in documentary form, The Sicilian Girl feels powered by unfocused preoccupation, rather than by a more compelling creative ambition.
  8. Peepli Live opens out slowly to encompass several factions of Indian society, including the press, local, state, and federal politicians, and the shady elements binding them all together. It's a meticulously engineered design that a show like The Wire took several years to execute; here the strain shows within the first half hour.
  9. The degree to which they are willing to share their bodies with the world, seeming to reach out for it with each impossible extension, drawing it in with every reeling arabesque, suggests a desire for engagement that is visceral, human, and true in all the ways this film is not.
  10. Despite these two actors' decent - and occasionally very charming - performances the film stacks the odds of the audience caring about Heigl and Duhamel against a narrative vacuum that favors eye candy and cheap effect over emotional logic.
  11. The story is so bounteous that Goldwyn can't quite get a grip on it.
  12. Chastain, an incandescent redhead with a heart-shaped face and round, shining eyes, does more justice to the part than it deserves.
  13. It's hard to tell what Wild Target is offering, besides the pleasure of its company.
  14. The film presents the rare instance of a true story that has been fictionalized and yet seems bent on cleaving to its least useful facts.
  15. It's difficult to get a firm grip on most of what Disco and Atomic War, constructed in a mish-mash collage style, has to offer.
  16. Hickenlooper too often approaches his subject with the filmmaking equivalent of a wry chuckle.
  17. The animation itself is technically gorgeous, a class act all the way. But there's so little to be found in the faces of the characters, or even in the way their limbs move (much of it adopted, cleverly enough, from Tati's own physical style), that it's not clear what we're supposed to feel for them.
  18. Disappointingly ordinary film.
  19. It goes down like a canned but genial '80s comedy: Without fanfare or much nutrition; part of your balanced breakfast.
    • 82 Metascore
    • 60 Critic Score
    There's an enchanting, and very Western, musicality in Certified Copy, a mash-up that charms; Mad Decent - master masher, dj and producer Diplo's label - aptly describes it. (Diplo and Buñuel would've loved each other).
  20. A concerted effort to make a scary movie without spilling a drop of blood, Insidious is earnest to the point of suffocation about scaring you silly.
  21. Though the film concerns events contained within the roughly 50 square blocks of the East Village, it suffers from the narrative equivalent of urban sprawl.
    • 49 Metascore
    • 60 Critic Score
    You can't help but feel that the ambition of Henry's Crime was determined by the near anonymity of its title - the movie seems to be ensconcing itself into the Witness Relocation Program.
  22. Unfortunately, Silver's movie doesn't cut deep enough: It glosses over some thorny questions and hammers too fixedly on others.
  23. Despite heavy-handed characterizations, Devine and Bassett make their stake in the union felt, and it's anything but superficial.

Top Trailers