Mr. Showbiz's Scores
- Movies
For 721 reviews, this publication has graded:
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52% higher than the average critic
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3% same as the average critic
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45% lower than the average critic
On average, this publication grades 3.2 points lower than other critics.
(0-100 point scale)
Average Movie review score: 58
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 340 out of 721
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Mixed: 241 out of 721
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Negative: 140 out of 721
721
movie reviews
- By critic score
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Reviewed by
Cody Clark 77
It's a larky hoot in its best moments, and it has a refreshingly unforced sense of fun that buoys the scenes that are straight out of Lame Movie Laffs 101. -
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Critic Score 76
Savy script... terrific performances... [yet] the movie's herky jerky pacing may leave you wanting. -
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Critic Score 76
Disturbing, powerful essay on one aspect of the rock and drug culture at the end of the 1960s. -
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Reviewed by
Kevin Maynard 76
An entertaining but insubstantial romantic thriller loaded with Euro-chic trappings and no small amount of sex appeal. -
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Reviewed by
Michael Atkinson 76
A film that's bound to be loathed for its irrationalities and narrative drunkenness, just as it will be beloved for its original risks and manic visual energy. -
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Reviewed by
Michael Atkinson 76
One of the year's best imports and one of the very few queer movies that transcends its sexual orientation. -
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Reviewed by
F. X. Feeney 75
First-time writer-director Mark Hanlon creates a solidly trippy atmosphere. -
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Reviewed by
Larry Terenzi 75
Works best as a mood piece — the mood, however, is grim. -
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Reviewed by
Kevin Maynard 75
After an uproarious first half, Saving Grace arrives at its conclusion somewhat hastily and conveniently. -
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Reviewed by
Kevin Maynard 75
All in all, she comes off as quite a complex creature. -
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Reviewed by
Kevin Maynard 75
Tries to have it both ways -- as a kitschy ode to bodybuilding culture and as a tragic story of a man who was persecuted for his dreams. -
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Reviewed by
Kevin Maynard 75
Crawford's such a good-hearted guy, you can't help but want a cut from his clippers. -
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Reviewed by
Kevin Maynard 75
Zahn's dazed and confused, droopy-mustached dude steals every scene he's in...a movie that will make you smile and put a lump in your throat. -
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Reviewed by
Kevin Maynard 75
Doesn't come close to the pulp beauty and complexity of classic noir. -
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Reviewed by
Larry Terenzi 75
Ultimately nothing more than a live-action cartoon. A high-minded, inspiring cartoon, but a cartoon nonetheless. -
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Reviewed by
Kevin Maynard 74
Strangely, what it most lacks is the genuine tension found in the first "Mission"'s signature set pieces. -
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Reviewed by
Kevin Maynard 74
Banderas may have been crazy to make such a heady directorial debut, but it's hard not to be charmed by his ambitions. -
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Reviewed by
Kevin Maynard 74
It's another subtle, fantastic performance from McKee ("Notting Hill," "Croupier"). -
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Reviewed by
Larry Terenzi 74
Seems truncated, incomplete -- mostly because the patented Shyamalan twist is revealed in the dénouement, not the climax. -
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Reviewed by
Larry Terenzi 74
He's (Eastwood) made a mature film that bests nearly all of the summer's highly touted blockbusters for pure escapism. -
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Reviewed by
Larry Terenzi 74
An ambitious film, nearly an exploitative one, but its lingering effects are positive. -
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Reviewed by
Kevin Maynard 74
Even if it sometimes skips, it's consistently wittier and more idiosyncratic that most studio movies. -
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Reviewed by
Michael Atkinson 74
A near-perfect confection, a beautifully executed Hollywood all-you-can-eat salad bar of glamour, plot twists, breathtaking Mediterranean vistas, and jazz. -
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Reviewed by
Kevin Maynard 73
You could do a lot worse than spend two hours in the company of two such talented actresses. -
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Reviewed by
Kevin Maynard 73
Juggles a few too many subplots, cramming in more issues than your average nightly newscast. But more often than not, this is a film to savor. -
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Reviewed by
Michael Atkinson 73
A remarkable debut, and its first half is a genuine jolt. -
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Reviewed by
Michael Atkinson 73
A thoughtful, stunning piece of work in what, of late, has been an otherwise arid indie landscape. -
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Reviewed by
Kevin Maynard 73
Proof of Life won't hold your heart hostage for very long after it's over, but here's looking at Russell Crowe -- he's the real deal, sweetheart. -
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Critic Score 72
Shot on location, handheld camera, available light, no props, no music, no filters, etc. We may wonder, "What are we doing here?" But we won't look away. -
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Reviewed by
Larry Terenzi 72
An agreeably and unapologetically lightweight late-summer blockbuster. -
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Reviewed by
Cody Clark 72
There's a lot of satisfaction in seeing two stars given this much time and space to examine a complex relationship. -
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Reviewed by
Michael Atkinson 72
(Paradis) delivers what might be the most affecting film performance ever given by a supermodel. -
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Reviewed by
Michael Atkinson 72
Rodriguez has made a movie for kids, and the most and least that can be said about it is that parents, while hardly being catered to, will experience profound relief that the movie knows how to entertain and does so. -
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Reviewed by
Michael Atkinson 71
Follows a predictable low-comedy path, but does it with such fierce appeal and beautifully wrought wit that it doesn't feel quite like any comedy American theaters have seen since the equally underrated "Grosse Pointe Blank." -
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Reviewed by
Michael Atkinson 71
The film's details are spot-on, its tone ludicrously ironic, and its casting deft. -
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Critic Score 70
But for all its pretensions toward exemplifying a brave new way of making movies, Time Code offers less and less worth discovering as it slouches toward its tritely "fatal" climax. -
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Reviewed by
Kevin Maynard 70
A disarming helping of Capra-esque corn served up by writer-director Rob Sitch. -
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Reviewed by
Kevin Maynard 70
All this artful violence won't change your life, but Non-Stop is a satisfying quickie. -
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Reviewed by
Michael Atkinson 70
Though Lee's movie is dripping with action and beautiful details, it's aimless and, eventually, tedious. -
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Reviewed by
Kevin Maynard 70
Proudly wears its heart on its sleeve, but it never becomes so swoony that you'll reach for your hanky. -
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Reviewed by
Kevin Maynard 70
How well you respond to this handsomely mounted, cold-blooded tragedy will depend on your feelings toward Gillian Anderson's highly theatrical lead performance. -
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Reviewed by
Kevin Maynard 70
Offers up keys and cakes and plunges its characters down a deep rabbit hole. -
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Reviewed by
Cody Clark 70
The story is a pleasant one despite its pointed righteousness. -
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Reviewed by
Michael Atkinson 70
For audiences new to this type of moon-mad magical realism and unembarrassed romanticism, Orfeu can spellbind. -
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Reviewed by
Cody Clark 70
A warm, glossy holiday fable that hits some surprisingly sweet notes. -
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Reviewed by
Kevin Maynard 70
Nico and Dani merely retells a not uncommon tale without significantly enriching it. It's just too familiar to play as poignantly as it would like to. -
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Reviewed by
Larry Terenzi 70
Boasts a fine cast and makes enough cogent points that it rises above standard cop fare. -
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Reviewed by
Michael Atkinson 70
In terms of raw wit and fearless satire, the South Park kids put Mike Myers and Adam Sandler to shame. -
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Reviewed by
Kevin Maynard 70
Despite Arteta's best efforts, I eventually stopped caring about their bond because Chuck's character is conceived as such a two-dimensional yuppie. -
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Reviewed by
Larry Terenzi 69
A shell of a film. It's a stripped-down and blown-out thriller than can only be measured by the sum of its action sequences. -
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Reviewed by
F. X. Feeney 68
They make a believable trio of siblings, but not even their combined wit can lift this script above the maudlin. -
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Critic Score 68
None of their efforts can turn this ho-hum, mildly entertaining line-drive single into a solid, explosive home run. -
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Reviewed by
Kevin Maynard 68
As a snapshot of Hungarian history, Glamour's watchability trumps that of "Sunshine" — the droll absurdity of the former leaves a much deeper impression than the latter's bruising moralism. -
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Reviewed by
Michael Atkinson 68
A brooding, stunningly realistic portrait of familial self-destruction that raises far more questions than it can possibly answer. -
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Reviewed by
Kevin Maynard 68
Has a credibly gritty texture, thanks in large part to Fishburne's generosity with his fellow actors. -
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Reviewed by
Kevin Maynard 68
A trifle of a farce fashioned into a '30s musical that gaily trips as much as it lightly skips, but nonetheless marks a welcome return to form. -
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Reviewed by
Kevin Maynard 68
Works best as romantic melodrama and is least convincing as a psychological suspenser. -
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Reviewed by
Kevin Maynard 68
Though far from a sophomore slump, Snatch, like "Smoking Barrels," is such a grab bag of other influences that it's tough to figure out what, if anything, about Ritchie's style is uniquely his own. -
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Reviewed by
Kevin Maynard 68
Elevates the horror genre with a refreshing intelligence and humor -- too bad it's not half as good at generating scares. -
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Reviewed by
Kevin Maynard 68
Plays like a Chinese "Cinema Paradiso," full of feeling without succumbing to sentimentality. -
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Reviewed by
Kevin Maynard 68
Almereyda never plays up the gimmickry at the expense of the performances, and as a result, his movie largely succeeds, despite an overabundance of pretentious pokes at our consumer culture and the risky casting of Ethan Hawke in the lead role. -
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Reviewed by
F. X. Feeney 67
The good news is that they've resurrected a franchise with wonderful potential and may eventually grow bored enough of recapping past triumphs to take it in more daring directions. -
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Critic Score 67
Jon Reiss' compelling documentary on the people, music, and social constructs of dance culture, may perhaps provide some needed balance to the mass media attention. -
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Reviewed by
Michael Atkinson 67
A fresh and beautifully timed, if slight, romantic comedy. -
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Reviewed by
Michael Atkinson 67
It's Besson's stunning visual fluency that takes center stage, and in the end, that's not quite enough. -
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Reviewed by
Michael Atkinson 67
It's such an accomplished, beguiling film in its details that you almost don't notice that the story is scattershot, arbitrary, and thin -- almost. -
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Reviewed by
Michael Atkinson 67
Has storytelling rambles and lapses that no amount of electrifying jump-cuts and original image-making can compensate for. -
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Reviewed by
Michael Atkinson 67
A classic Sundance résumé movie -- texturally interesting, bubbling with ideas, and as structurally predictable as a cardboard box. -
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Reviewed by
Michael Atkinson 67
It is only once the movie has exhausted its roster of "weird" notions and contrived images that it finds its emotional footing, leaving you with one half of a lovely, woebegone film. -
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Reviewed by
Cody Clark 67
Mad About Mambo's steps may be as familiar as the hokeypokey, but there's just enough gusto in the execution to make it a guilty pleasure. -
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Reviewed by
Kevin Maynard 66
Visually, Pitch Black is sleek and stylish in a post-apocalyptic way, and a scantily clad Radha Mitchell does a nice, more femme variation of Sigourney Weaver's Ripley. -
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Reviewed by
Michael Atkinson 66
The characters are barely characters, the story barely a story, and the elliptical filmmaking style that so besots Denis' many fans could drive you to drink. -
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Reviewed by
Cody Clark 66
Hark! A Christian thriller about the Last Days that doesn't (totally) suck. That's got to be a sign of the times. -
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Reviewed by
Michael Atkinson 66
Despite terrific comic acting...and an atomic first hour, Fight Club makes a few wrong turns and ends up lost itself. -
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Reviewed by
Kevin Maynard 66
Perhaps most depressingly, in pulling out all the stops for an ugly, violent climax, he (Schumacher) cheapens this vividly drawn slice of life, turning it into a tiresomely flawed, garden-variety vigilante thriller. -
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Reviewed by
Kevin Maynard 65
What ultimately keeps Titan A.E. from taking off is an ordinary script. -
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Reviewed by
Kevin Maynard 65
Thanks to the first-time filmmaker's attention to character, Gun Shy is worth at least a shot at a matinee. -
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Reviewed by
Kevin Maynard 65
Works so hard at being pleasant and ingratiating that it wears out its welcome. -
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Reviewed by
Kevin Maynard 65
It's filled with far too much talk and it never justifies its length, but if you succumb to its old-fashioned Renoir style of storytelling, The Grandfather has its pleasures. -
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Reviewed by
Michael Atkinson 65
Has an unforgettable artery of hot-blooded talent coursing straight through it. -
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Reviewed by
Michael Atkinson 65
Assiduous, temperate, and a lot more honest about government and politicians than any other Hollywood film of the last few decades, Thirteen Days is nevertheless too little, too late. -
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Reviewed by
Kevin Maynard 65
Features a sexy, appealing cast, especially Guillermo Diaz. -
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Reviewed by
Kevin Maynard 65
Gets to the funny bone, but it could've cut deeper. -
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Reviewed by
Kevin Maynard 65
The appealing cast makes the most of the derivative story. -
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Reviewed by
Kevin Maynard 65
Dippy, funny, and fast-paced enough to be a guilty pleasure. -
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Reviewed by
Michael Atkinson 65
A vapor trail of a comedy, comfortable as an old chair (and deliciously photographed in shades of melon and banana by Chinese vet Zhao Fei), but ultimately quaint and unchallenging. -
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Reviewed by
Kevin Maynard 65
This is slight stuff, but the legions of budding Scorseses and Kevin Smiths might actually learn a little something, and they will certainly enjoy a chortle or two -- even if it is at their own expense. -
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Reviewed by
Kevin Maynard 64
Despite impeccable performances, this is bloodless, ho-hum stuff. -
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Reviewed by
Michael Atkinson 64
For all its originality, O Brother doesn't seem to have a point, or enough spark to distract us from the lack thereof. -
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Reviewed by
Michael Atkinson 64
The frequent song interludes will distract the kids (but send the adults into comas), and the anti-Disney satire rages as never before. -
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Reviewed by
Michael Atkinson 63
It's a drab, familiar story with no oomph (and less humor than you'd think), and it's inconsistent. -
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Reviewed by
Kevin Maynard 63
Unsuccessfully attempts to fathom Kaufman's lunatic sensibilities, supplying scant psychological insight into what made the outrageous comic tick. -
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Reviewed by
Michael Atkinson 63
The dilemma is simple: Living, making art, and then dying does not constitute much of a story. -
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Reviewed by
Michael Atkinson 63
Accomplished, middlebrow costume-drama entertainment. It's not so simple that it could be mistaken for the work of, say, Lasse Hallström, and yet it's not so sophisticated that audiences of "Chocolat" would be mystified. -
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Reviewed by
Michael Atkinson 63
Burton's films are endearing and impassioned despite the fact that they generally fail to tell a whole story, create a single rounded character, or inspire even mild laughs or chills. -
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Reviewed by
Larry Terenzi 63
A generally likeable cast atones for the underwritten script with fine comic spirit. -
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Reviewed by
Cody Clark 62
Plenty of the tasteless gags don't fly, and for every celebrity cameo that works (a hilariously heavenly Reese Witherspoon), there are two or three that crash and burn. -
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Reviewed by
Kevin Maynard 62
Along the way, we end up losing patience with our couple-to-be because they seem too smart to endure the indignities ceaselessly heaped on them. -
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Reviewed by
Kevin Maynard 62
"Run mad whenever you choose, but do not faint," Austen wrote in her early journals. Despite its brazen politics, Mansfield Park never goes giddily amok as promised. -
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Reviewed by
Michael Atkinson 62
Mature and adroitly performed but ultimately underachieving. -
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Reviewed by
Larry Terenzi 62
For a modest film, however, Too Much Sleep is a modest surprise. -
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Reviewed by
Larry Terenzi 62
Hicks is far less interested in resolving dramatic conflicts than in framing shots. -
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Reviewed by
Michael Atkinson 61
There's a sense of life to Committed that's unpredictable and sweet, but too much of it is cluttered with lazy shortcuts. -
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Reviewed by
Michael Atkinson 61
It's yet another serial killer movie, a plot element that by this point in time, far from being disturbing or fascinating, is just plain dull. -
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Reviewed by
Michael Atkinson 61
From the beginning of his career a fervent, epic documentarian, Herzog is a personal filmmaker as well, and My Best Fiend is certainly his most intimate and introspective film. -
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Reviewed by
F. X. Feeney 60
A smirky black comedy that, like its John Lurie score, is jazzy, dry, and light on its feet. -
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Critic Score 60
This is, recognizably, an indie film, in the best sense of the term. -
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Critic Score 60
While An Everlasting Piece is rife with engaging family moments and an undeniable charm, it never allows its characters to find the very thing they're seeking: peace. -
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Reviewed by
Kevin Maynard 60
Born Romantic feels less like it was born than assembled, in a kooky Britcom factory. It's no "Four Weddings and a Funeral," but it's certainly a happier conception than last month's "Maybe Baby." -
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Reviewed by
Cody Clark 60
Spacey and Bridges -- generally provide exactly the level of investment required for their characters to be convincing. Neither one showboats, and both make good use of the dry humor in Leavitt's script. -
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Reviewed by
Kevin Maynard 60
The rapper-ever-increasingly-turned actor -- is having the time of his life, big pimp styling in a flashy wardrobe as he guts and struts. -
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Reviewed by
Kevin Maynard 60
Too often, the movie is more forced and frantic than actually funny. -
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Reviewed by
Michael Atkinson 60
Packed with melodrama, and often it works in the passionate, easy-to-watch manner of an old-fashioned "woman's film." -
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Reviewed by
Michael Atkinson 60
But it's Lopez's movie, and its limitations are hers: Both actress and movie tackle emotional turmoil with a minimum of insight. -
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Reviewed by
Cody Clark 60
It's Norton's movie, really, and he shines both as cocky Jack and as cerebral-palsied Brian. -
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Reviewed by
Kevin Maynard 60
An enjoyable female buddy caper -- more "Outrageous Fortune" than "Thelma and Louise." -
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Reviewed by
Cody Clark 60
Quite handsomely produced, and there's a definite swashbuckling verve to it. Most of the characters have been contemporized, but the actors are engaging. -
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Reviewed by
Kevin Maynard 60
Ultimately too slight and opaque to inspire much ardor. -
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Reviewed by
Kevin Maynard 60
Beautifully performed and filmed, but tiresomely schematic episodes like this one cause us to experience major sensory deprivation. -
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Reviewed by
Kevin Maynard 60
This bed-swapping crime story is ultimately too protracted, but Piñeyro's direction is richly atmospheric, full of noir shadows and strong period detail. -
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Reviewed by
Kevin Maynard 60
It's a coffee-table movie, but what saves it are a couple of performances.Rowlands puts a spin on every line reading, Harris quietly mines regret, and Shields, assured and sexy, has never been this good. -
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Reviewed by
Larry Terenzi 60
Wincer keeps the insubstantial story moving and the comedy light. -
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Reviewed by
Michael Atkinson 60
For some viewers, this will seem a trial of predictability and unrelenting sweetness; for others, it's more than enough. -
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Reviewed by
Michael Atkinson 60
Sags, lollygags, and blusters too much to sustain the what-the-hell momentum that Kitano achieves in his best movies. -
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Reviewed by
Michael Atkinson 60
The voyage is never less than interesting, even when you have no idea where it could possibly go. -
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Reviewed by
Kevin Maynard 60
All of the interviewees are compelling, whether proudly showing off bruises and bullet holes from on-the-job scuffles, or voicing their opinions about how the profession has changed. -
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Reviewed by
Cody Clark 60
The movie's most glaring flaw is that the brothers and their screenwriters, Terry Hayes and Rafael Yglesias, don't manage to preserve the secret of the Ripper's identity for nearly as long as they intend to. -
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Reviewed by
Michael Atkinson 60
The cast is largely nonprofessional, and the story has the simplicity of myth. -
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Reviewed by
Cody Clark 60
It's good enough, smart enough, and people will like it. It's also a high-concept cop-out, a convention-strangled genre movie that never zigs when your every instinct is screaming that it's about to zag. -
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Reviewed by
Michael Atkinson 60
A tepid and surprisingly dull farce stamped from the "About Mary" mold. -
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Reviewed by
Kevin Maynard 60
For the most part, it's when the women do the singing -- that Songcatcher really comes alive. -
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Reviewed by
Kevin Maynard 60
If you're looking for refuge from summer movie bombast, it's frequently intoxicating. -
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Reviewed by
Michael Atkinson 60
It's not a movie you could call dispassionate, however aimless and unfocused. It's a Molotov cocktail tossed in several directions at once. -
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Reviewed by
Kevin Maynard 60
The flat, gross-out live-action bits, directed by (surprise!) Peter and Bobby Farrelly, don't jive with the zippy, Tex Avery-style animated segments, directed by former storyboard artists Piet Kroon and Tom Sito. -
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Reviewed by
Michael Atkinson 60
The naked, artless display of nerve and rebellious bile is altogether unique in modern movies. -
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Reviewed by
Kevin Maynard 60
The wrap-up's pretty charming, as are the performances, but the film's too heavy for its soufflé-ready ingredients. -
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Reviewed by
Kevin Maynard 60
Good old-fashioned romantic entertainment, just restrained enough to skirt schmaltz. -
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Reviewed by
Kevin Maynard 60
Billed cleverly as a comedy from the heart that goes for the throat. If only Brooks had had the guts to avoid the schmaltz. -
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Reviewed by
Kevin Maynard 60
Its emotional sweep is ultimately undercut by murky characterizations and generic plotting. -
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Reviewed by
Kevin Maynard 60
Makes for compulsive viewing even though its noirish plot doesn't make a lick of sense. -
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Reviewed by
Kevin Maynard 60
This fictionalized, frequently stomach-churning biography of Australian criminal Mark Chopper Read features the most bloody ear-severing scene since "Reservoir Dogs." -
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Reviewed by
Cody Clark 60
The result is a feast for the eyes but frequently a famine for the frontal lobes, a movie of towering imagination and middling rewards. -
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Reviewed by
Kevin Maynard 60
The more we realize that we're stuck in the company of a totally relentless loser, the drearier the entire experience becomes. -
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Reviewed by
Michael Atkinson 60
At once arch, derivative, and, in the end, bizarrely lyrical. -
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Reviewed by
Michael Atkinson 60
Mild as satire and completely unconvincing as tragicomedy. -
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Reviewed by
Larry Terenzi 60
What does it say that we have a closer relationship with the car than with the characters? It says Bruckheimer. -
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Reviewed by
Kevin Maynard 60
The film has an unabashed romantic tone that's matched by Wenders' usual flair for visual drama. -
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Reviewed by
Michael Atkinson 60
Has one of the most stupendously tasteless premises in cinema history, and much of the time when this movie tries to beckon a smile, the effect is closer to astonished nausea. -
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Reviewed by
Kevin Maynard 60
Strictly where the boys are: posing, posturing, and talking engine envy. -
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Reviewed by
Michael Atkinson 60
This might be as perfect a new-millennium Halloween creepshow as we can expect. -
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Reviewed by
Kevin Maynard 60
Hits the wall and runs off the rails. They should've stuck to shtick. -
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Reviewed by
Kevin Maynard 60
The overlapping dialogue and the comedy of famous people playing self-variations is pure Altman (Leigh, not surprisingly, has worked in three Altman films). -
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Reviewed by
Michael Atkinson 60
It's a shame that Jeepers Creepers cops out -- as American genre movies have been doing for years -- and plays it safe with an F/X-heavy creature that no one would believe in a thousand years. -
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Reviewed by
Kevin Maynard 60
The real reason to see it is Brian Cox, best known for being filmdom's other Hannibal Lecter (he played the role in Michael Mann's "Manhunter"). -
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Reviewed by
Kevin Maynard 60
Families already know exactly what they're in for, and they're likely to leave the multiplex high on the hum of a charming cast, sunny San Francisco locations, and a suitably happy ending. -
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Reviewed by
Kevin Maynard 60
It's the kind of flourish that makes you smile -- that makes you believe in the power of movies. -
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Reviewed by
Michael Atkinson 60
A mess, bouncing nonsensically from one style of farce to another, leaving large vacuums and dead spots — which may themselves, of course, be deliberate. -
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Reviewed by
Michael Atkinson 60
Repetitive, aimless, and as frustrating as you'd imagine any two-hour music video to be. -
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Reviewed by
Kevin Maynard 60
Come Undone is the quintessential gay date at the art house. -
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Reviewed by
Cody Clark 60
The watchability of Extreme Days can be mostly chalked up to Hannah's playful impulses -- and his cast's infectious camaraderie. -
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Reviewed by
Cody Clark 60
The ending is so absurd, in fact, that it feels like it was improvised by a committee of 6-year-olds. If the raptors truly were intelligent, they'd have eaten the final reel. -
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Reviewed by
Kevin Maynard 60
Too much of a study in formalism to register deeply on an emotional level. -
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Reviewed by
Kevin Maynard 60
Simply a pleasant diversion rather the paean to crazy-in-love classics it would so like to be. -
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Reviewed by
Michael Atkinson 60
Plays like "The Honeymooners" might have if Ralph Kramden were from Pakistan, but with less laughs and more ignorant spite. -
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Reviewed by
Kevin Maynard 60
Like "Pollock," Nora is a convincing portrait of the intersection between creative genius and crazy, all-consuming love. -
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Reviewed by
Michael Atkinson 60
As amusing and sharply performed as it is, Lisa Picard quickly grows thin and dull. Perhaps it would have been better as a real documentary, with Kirk and DeWolf simply playing their pathetic selves. -
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Reviewed by
Cody Clark 60
Murphy's second outing as the M.D. who talks to the animals is surprisingly engaging. -
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Reviewed by
Larry Terenzi 60
Sunk by its own melodramatic falseness, and it stands as a well-meaning yet lacking tribute to a courageous man. -
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Critic Score 59
The farce hits the fan, and you just wait for the thing to be over. -
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Reviewed by
Kevin Maynard 59
Despite good performances and moments of spectacle, it seems to go on longer than the Cultural Revolution. -
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Reviewed by
Cody Clark 59
Feels like it was pulled out of the freezer and hastily microwaved about 10 minutes before you arrived at the theater. -
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Reviewed by
Michael Atkinson 59
A pleasant and surprisingly polished fish-out-of-water comedy. -
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Reviewed by
Kevin Maynard 59
In its attempts to chart a young girl's journey from innocence to experience, The Invisible Circus ends up having all the heft of a Nancy Drew mystery decked out in a tie-dyed T-shirt and peasant skirt. -
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