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. The film is being released in both 2- and 3-D, and from what I could tell the 3-D version is still almost 50-50. What use is made of the technology is hardly worth the effort, unless you've always wanted to experience a cascade of cheesies in 3-D.
  2. Gerard Butler, who's honed his screen persona as a brutish, charismatic jerk, isn't a bad fit for the role of Sam, even if he's more believable spraying bullets and stabbing hitchhikers than he is delivering a sermon.
  3. Trespass is best received as an almost viable B-movie that just happens to have A-list leads.
  4. The Double does contain some delightfully over-the-top twists that make no sense but are great fun to consider.
  5. Even if there were a compelling narrative here to begin with, Montiel's excessive technique would throw you right out of it.
  6. There's something immobile at the center of The Lady, a kind of Botoxed biopic with an unlikely director - Luc Besson - manning the syringe.
  7. These characters are at best doodles, and none of the performances are able to tease more depth out of them.
  8. This is a family movie, after all -- but you'll have to sit through some abrasively broad, unfunny exchanges to get there. Dialogue, alas, is the kind of thing that can't be enhanced by the wearing of 3-D glasses.
  9. The smugness of the film grows wearying long before the end. Just because the people on and behind the camera are willing to acknowledge what we're watching is ridiculous crap doesn't really change the fact that, well, it is.
  10. There's too much people and not enough dog in Lawrence Kasdan's Darling Companion, and even if you prefer people to dogs, that's a serious problem.
  11. Virginia is like a box full of someone's long ago summer vacation keepsakes: pretty, but representative of memories and meaning no one else will be able to grasp.
  12. There's enough froth along the way to keep the memory of Will Ferrell's recent "Casa Di Me Padre" close at hand.
  13. No matter how much good-hearted licentiousness follows in the rest of the movie, the opening sequence brings a unshakable sourness to the whole affair.
  14. As sticky-sweet and textureless as a bowl of pudding, though an amused central performance from star Morgan Freeman continually finds nuance and the unexpected where there ultimately isn't any.
  15. It's the closest thing you'll find yet to a recreation of a video game sensibility on the big screen - which is in line with the franchise's source material - and makes for a memorably unsettling if not particularly satisfying viewing experience.
  16. Alex Cross is filled with accidental comedy, and while it's a mess in any traditional movie sense, it's has its moments of preposterous fun that come in the form of a nonsensical plot and a fabulously competent, scenery-gnawing villain.
  17. Isn't just unfunny; it's so dull.
  18. The writing and directing debut of Italian actress Marta Mondelli, is a classic example of a director who wanted to make a film but lacked a story that demanded telling.
  19. Over-narrated by Kiefer Sutherland in full "this is extremely important and also very, very cool" mode, from its first self-important minutes Twelve seems as if it can't possibly be serious. Would that it were not.
    • 59 Metascore
    • 45 Critic Score
    Middling, middle-class entertainment aimed at the midpoint between comedy and drama, mass appeal and sophistication, Change of Plans is eager to please and easy to dismiss.
  20. It comes to the party overdressed and still fails to make an impression.
  21. Your enjoyment - if that's the right word - of Buried will hinge on two things: Your ability to tolerate situations in which characters are confined to very tight spaces, and your willingness to be emotionally manipulated in the cheapest way imaginable.
  22. Somewhere in there is a little blonde girl and her dreamy princeling, but damned if I could see them through the dreck.
  23. This latest is grim stuff: Little Fockers hardly bothers with finding a reason to exist, although one might assume a focus on the abiding hilarity of life with small children. That assumption would be wrong.
    • 39 Metascore
    • 45 Critic Score
    While this latest Rogen-penned iteration is a game try, it feels a bit like he's trying to make a volume out of a footnote.
  24. Just Go With It attempts to merge farce and romantic comedy with the Sandler sensibility, and the result is a story that evades where it should engage and a whiplash tone that dispirits when it should delight.
  25. It's tailored more to a gamer's eyes and expectations than a moviegoer's. On the whole the scenes play like levels, with one connecting in only the most basic way to the next.
  26. As an insult comic, Madea has gone the way of her low-hanging bosom. There's little pleasure in watching her go off, and Perry's direction is reliably drab: Sitcom setups dominate, with strange blown-out lighting occasionally swapped in for the flat tones of a WB soundstage.
  27. As horrific as Something Borrowed is, it's compelling in its own sick way.
  28. I found myself forgetting The Art of Getting By as it unfolded, as though the Looney Tunes art department were two steps behind the characters, rolling up the scenery like so much carpeting.

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