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
    • 79 Metascore
    • 60 Critic Score
    The story of Pi and Richard Parker already has the clean simplicity of a myth and really doesn't require significant elaboration, but following in the footsteps of the source material, the film provides elaboration anyway, demonstrating a condescension to the audience that dulls the spectacle it punctuates.
  1. Even at a generous running time that matches this season's other giant award candidates, Les Misérables seems like it's in a hurry, skittering from one number to the next without interlude. After Hathaway's early high point, it starts to feel numbing, an unending barrage of musical emoting carrying us through Valjean's adopting of Cosette, the latter's first encounter with Marius, the battle at the barricade and a last hour that can feel like it's a non-stop series of death arias.
  2. The film also comes across like a rough cut that was never looked at as a coherent whole, and some segments that start off as promising become interminable while others feel entirely unnecessary. There's no pressure on or expectation for Tarantino to please anyone other than himself, and the film feels overstuffed with ideas that should have been pruned.
    • 50 Metascore
    • 60 Critic Score
    The film's feel-good message is undermined by its ultimate purpose: As a vindication of the rights of Jewish mothers to annoy their children as much as they please.
    • 54 Metascore
    • 60 Critic Score
    Is it a coincidence that classic action is making its comeback at the same time Schwarzenegger is making his own? Hey, he warned us he'd be back.
  3. Defiantly unwatchable if occasionally transfixing, the film is essentially the home movies of three marauding burnouts.
  4. Dark and queer enough to catch your attention but lacking the story power to hold it, Metropia is an aesthetic in search of an author.
  5. It’s so ineffectual and unfocused that after it’s over, you’re not even sure you watched a movie.
  6. Though he lavishes praise on his subjects for being hyper-masculine and free-thinking, Stone is downright girlish in his devotion, scoffing at charges made against the leaders rather than examining them.
  7. Relies almost entirely on its tunnel-vision, single-player style for its scares. It’s a strategy that stalls out halfway through, which means it works for twice as long as it should.
  8. A film loaded with interest that somehow fails to be interesting, La Soga is inspired by true events and not much else.
  9. 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.
  10. 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."
  11. 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.
  12. 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.
  13. A massive wedgie of a comedy, which is to say it's a comedy of extreme discomfort.
  14. 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.
  15. Season of the Witch is barely even a Nicolas Cage movie. He wanders through the picture, zombified.
  16. 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.
  17. 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.
  18. 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.
  19. Mostly, though, African Cats is extremely tactful about the truly harsh stuff that goes down in the world of nature.
  20. 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.
  21. Because his character is never clear, Manolo's choices lack emotional interest and narrative urgency.
  22. 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.
  23. To invoke Pauline Kael's review of Diane Kurys's "Entre Nous," it's about two women not having a lesbian affair.
  24. 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.
  25. 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.
  26. The result is the double shrift of a thinly sketched background and a story that has trouble standing up on its own.
  27. 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.
  28. The picture, the debut feature of Irish director Gary McKendry, is rote and joyless, an exercise in disposability.
    • 25 Metascore
    • 55 Critic Score
    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.
  29. Moretz brings some natural gravity to a role that hasn't been adequately fleshed out.
  30. It's an extravaganza of bad taste that in the end just tastes bad.
  31. 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.
  32. 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.
  33. 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.
    • 58 Metascore
    • 55 Critic Score
    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.
  34. 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.
  35. Rather than beginning with the assumption that there is no possibility of our coming to know that kind of suffering exactly and using imagination and insight to truly take us inside the Lvov Jews' plight, Holland makes the base conditions of their confinement a narrative as well as aesthetic priority. And frankly it's boring as shit.
  36. This is good-for-you, arthouse-style horror. Which doesn't mean it's necessarily any good.
  37. For a movie with a comedic premise this simple – essentially: can you believe we made a movie with a premise this simple? – Casa de Mi Padre can feel pretty exhausting.
  38. It would be a real shame, with this much money and this many effects artists, if there were not a few purely visual wows. Wrath manages exactly two, and not where you might expect.
  39. It has neither the Red Bull–fueled crudeness of "Crank" nor the Frenchified lunatic vitality of the "Transporter" movies; it's not even as cheaply entertaining as the generic hit-man retread "The Mechanic." Safe shows Statham comfortably treading water, proving all the things he no longer needs to prove.
  40. Walks the jittery line between being exploitative and too sensitive, and while it's probably a relief that it tips more toward the latter, the movie also seems a bit unclear in its motives.
  41. Parts of Dark Shadows look lovely. So what happened to the story?
    • 37 Metascore
    • 55 Critic Score
    Svelte enough in its reassembling of familiar elements to be, for a while, as comfortably pleasant as sipping on what once used to be your go-to drink - until The Samaritan takes a jarring turn right out of Park Chan-wook, and from there takes a tumble into ludicrousness from which it doesn't recover.
  42. Actually, the picture is perhaps not quite as painful as you might be expecting, though probably not as enjoyable, either.
  43. None of it quite works, but it seems Beresford did his damnedest to try to pull it off.
  44. The latest from brothers Mark and Jay Duplass (who co-wrote and directed) seems to expose the limits of a certain kind of realism by stretching them one man-child too far.
  45. Stone's moralism, coupled with discreet but bloody beatings, shootouts and all manner of tawdry goings on, rings hollow. The picture is neither entertaining nor preachy – it is simply very loudly meh.
  46. It's not that The Watch is terrible – it's not not terrible, but there are sufficient diversions and more punitive ways to spend your evening – but that it's one of those smoke bomb comedies that seems to disappear even while you're watching, leaving no trace of itself behind.
    • 43 Metascore
    • 55 Critic Score
    The two films have the same underlying bone structure, sure, but this new Total Recall is made of more serious, more humorless stuff. It looks simultaneously lavish and interchangeable in its explosions and shoot-em-ups with a dozen other recent action movies, and in its sci-fi stylings with a dozen others in the genre.
    • 40 Metascore
    • 55 Critic Score
    With the out-of-nowhere success of 2016: Obama's America, the nation could finally have a conservative counterpart to Michael Moore. I say the nation rather than the Republicans, because a balanced box office is good for us all, at least as a reminder of our right to oppose the current government and make a profit in doing so.
  47. The film’s most impressive feat may be bringing a cartoon character to life while turning actual humans into 2-D cutouts.
  48. Eclipse, while admittedly an improvement over last year’s barely coherent "New Moon," only adds insult to injury. Nothing so grand as a real eclipse, it’s more just a massive blind spot.
  49. At 84 he describes himself as being kept alive by young women's laughter and infernal baby-talk, marking off perhaps his final, groaning aspirational standard. Almost makes me feel sorry for those men still trying to keep up.
  50. In its empty-headed hubris, it's not much more admirable than the conniving, moneygrubbing elite it's trying to take down.
  51. The picture is directed with such a loose, slack hand that you'd think Craven had never directed a slasher-thriller before: I didn't jump once; I never even felt vaguely scared or creeped out.
  52. Though based on the Hemingway novel published 25 years after his death, Hemingway's Garden of Eden feels more like the result of an ungodly alliance between Harlequin house writers and the cut-and-paste masterminds at A&E Biography.
  53. An ungodly mess that's great fun to look at for about 15 minutes and exhausting the rest of the time.
  54. The Dilemma is bad in a way that seems to parody all the ways in which a film like, say, "The 40-Year-Old Virgin" was good.
    • 37 Metascore
    • 50 Critic Score
    Roos works from the edge of a precipice as well, distending the melodrama in his films until it finally tumbles in subtle, observant satire; Kudrow, who etches each pause in acid, was born to speak his dialogue.
  55. It's a movie that needs to look down its nose for its laughs, which generally isn't the best place to find them.
    • 55 Metascore
    • 50 Critic Score
    What he's missing in The Eagle is that spark of the insane - the slightly lunatic fever that makes us unable to keep our eyes off him (Channing Tatum).
    • 35 Metascore
    • 50 Critic Score
    It's got a great subject - the extraordinarily voluble comedian Jonathan Winters, whose constant rush of words can be like a blizzard: beautiful, maddening, exhausting and finally beautiful again. But it's not a great film.
    • 50 Metascore
    • 50 Critic Score
    Ultimately the movie ridicules the culture that compels what Cedric the Entertainer calls grown-ass men to dress up like comic-book characters, as well as the Christian attempts to co-opt that culture.
  56. Armadillo tells us lots of things we shouldn't be so naïve as to think we don't already know. Maybe we need to see these things again and again, just so we don't lose sight of the costs and risks of the wars in which American and European soldiers are currently engaged.
  57. 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.
    • 43 Metascore
    • 50 Critic Score
    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.
    • 37 Metascore
    • 50 Critic Score
    Trespass is best received as an almost viable B-movie that just happens to have A-list leads.
    • 37 Metascore
    • 50 Critic Score
    The Double does contain some delightfully over-the-top twists that make no sense but are great fun to consider.
  58. Even if there were a compelling narrative here to begin with, Montiel's excessive technique would throw you right out of it.
  59. There's something immobile at the center of The Lady, a kind of Botoxed biopic with an unlikely director - Luc Besson - manning the syringe.
    • 28 Metascore
    • 50 Critic Score
    These characters are at best doodles, and none of the performances are able to tease more depth out of them.
    • 41 Metascore
    • 50 Critic Score
    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.
    • 32 Metascore
    • 50 Critic Score
    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.
  60. 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.
    • 33 Metascore
    • 50 Critic Score
    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.
  61. There's enough froth along the way to keep the memory of Will Ferrell's recent "Casa Di Me Padre" close at hand.
    • 31 Metascore
    • 50 Critic Score
    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.
    • 46 Metascore
    • 50 Critic Score
    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.
    • 39 Metascore
    • 50 Critic Score
    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.
    • 30 Metascore
    • 50 Critic Score
    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.
  62. Isn't just unfunny; it's so dull.
  63. 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.
  64. 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.
  65. It comes to the party overdressed and still fails to make an impression.
  66. 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.
  67. Somewhere in there is a little blonde girl and her dreamy princeling, but damned if I could see them through the dreck.
  68. 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.
  69. 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.
  70. 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.
  71. 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.
  72. As horrific as Something Borrowed is, it's compelling in its own sick way.
  73. 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.
  74. In the early scenes of Larry Crowne, Hanks' Larry is so assertively regular he almost comes off as a special-needs child - grinning into his coffee-cup in the big-box-store break room, he has all the sexual allure of Forrest Gump.

Top Trailers