Movieline's Scores

  • Movies
For 693 reviews, this publication has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 3.3 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 693
693 movie reviews
  1. A film loaded with interest that somehow fails to be interesting, La Soga is inspired by true events and not much else.
  2. Mostly it's frustrating; the film is an episodic jumble that runs hot and cold not in some implied thematic synchronicity with its subject's character but as part of a misguided approach that assumes the audience will find whatever Mesrine does, in whatever order and with whatever emphasis, inherently fascinating.
  3. It's hard to know how much of what's wrong with Hereafter stems from Morgan's screenplay, which lacks the characteristic tartness (and brains) of other movies he's written, like "The Queen" and "Frost/Nixon."
  4. Like the recent and only slightly less fantastical "Never Let Me Go," Inhale manages little more than a gesture toward untying its bundled moral knots.
  5. The tragedy of The Fighter is that Wahlberg's performance suggests a character who wants more. And yet Russell barely seems to notice how much subtlety Wahlberg brings to his role, or to the movie at large.
  6. A massive wedgie of a comedy, which is to say it's a comedy of extreme discomfort.
  7. On the whole the film is not much fun to watch. A job is a job, though; Yogi Bear did little to make it more than that.
  8. Season of the Witch is barely even a Nicolas Cage movie. He wanders through the picture, zombified.
  9. Beastly manages to show you all the ways it might have worked by missing every available mark, sometimes by the gaping expanse between Alex Pettyfer's ears, sometimes only by the feline curl of Vanessa Hudgens' smile.
  10. How, I'm wondering more and more often, do studios put movies like this one in front of audiences and assume they'll just buy it? The secret to making a great, or even just a good, thriller these days seems to have been lost.
  11. The puffy high tones of medieval fantasy punctured by the flatly vulgar and colloquial - is the film's central comic vein, one McBride taps it like it's never been tapped before.
  12. Mostly, though, African Cats is extremely tactful about the truly harsh stuff that goes down in the world of nature.
  13. The subject of Spurlock's movie is Spurlock, and while he may be reasonably affable, and sometimes extremely goofy, it's a stretch to call him controversial.
  14. Because his character is never clear, Manolo's choices lack emotional interest and narrative urgency.
  15. The plot of Cars 2 is both overly convoluted and thin, and it folds in so much unvarnished toddler-instruction that it almost feels like an educational film.
  16. To invoke Pauline Kael's review of Diane Kurys's "Entre Nous," it's about two women not having a lesbian affair.
  17. Ultimately just another less-accomplished entry in the booming cinema of catharsis, your average gorgeous-teen-astrophysicist-meets-schlubby-bereft-composer-whose-family-she-wiped-out-in-a-drunk-driving-accident-on-the-night-they-discovered-another-planet tale.
  18. Like the recent "Perrier's Bounty," The Guard feels like it might play better at home than overseas.
    • 48 Metascore
    • 55 Critic Score
    Can't make its mind up about what, exactly, it is.
  19. The result is the double shrift of a thinly sketched background and a story that has trouble standing up on its own.
  20. We need to wait nearly 20 years for the romance in Lone Scherfig's One Day to get cooking, and for long stretches it seems as if we're watching this particular pair of nonstarters hem and haw in real time.
  21. The picture, the debut feature of Irish director Gary McKendry, is rote and joyless, an exercise in disposability.
  22. As Nathan, the teenage hero of Abduction, Lautner shows he's handy with stunts, many of which he clearly and impressively performs himself, and good with a fight scene. But when it comes to exchanges of dialogue, displays of emotion or just standing around, he's stiff and manifestly uncomfortable.
  23. Moretz brings some natural gravity to a role that hasn't been adequately fleshed out.
  24. It's an extravaganza of bad taste that in the end just tastes bad.
  25. As Lily Tomlin's Ernestine once said, "There's nothing like a Hoover when you're dealing with dirt." Clint Eastwood's J. Edgar could use more dirt: This is a sensitive, sympathetic portrait of a scummy little man.
  26. The Descendants is an ultra-polished picture in which every emotion we're supposed to feel has been cued up well in advance. There's nothing surprising or affecting about it. Not even Clooney, who works wonders with the occasional piece of dialogue, can save it.
  27. W.E. is actually two intertwining stories - or maybe, more accurately, two stories clumsily rubbing against each other in an awkward attempt to set off a spark.
  28. The film has the feel of something deeply conventional that Crowe, who's also credited as a screenwriter, has tried with very mixed success to punch up with personality.
  29. Wheatley drops enough unnerving bread crumbs in the first two-thirds to leave you wondering where the hell he's headed, and even the big finale should be satisfying enough: It just belongs to a different movie, and it's unsettling in a way that doesn't feel earned.

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