Mr. Showbiz's Scores

  • Movies
For 721 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 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: 100 Apocalypse Now
Lowest review score: 0 Dude, Where's My Car?
Score distribution:
721 movie reviews
  1. Wincer keeps the insubstantial story moving and the comedy light.
  2. For some viewers, this will seem a trial of predictability and unrelenting sweetness; for others, it's more than enough.
  3. Sags, lollygags, and blusters too much to sustain the what-the-hell momentum that Kitano achieves in his best movies.
  4. The voyage is never less than interesting, even when you have no idea where it could possibly go.
  5. Almost nothing happens for most of the movie.
  6. Pure, irrational, claustrophobic, gritty, unpretentious.
  7. 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.
  8. O
    Too much of a locker-room melodrama to make for great tragedy.
  9. 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.
  10. The cast is largely nonprofessional, and the story has the simplicity of myth.
  11. 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.
  12. A tepid and surprisingly dull farce stamped from the "About Mary" mold.
  13. For the most part, it's when the women do the singing -- that Songcatcher really comes alive.
  14. If you're looking for refuge from summer movie bombast, it's frequently intoxicating.
  15. It's not a movie you could call dispassionate, however aimless and unfocused. It's a Molotov cocktail tossed in several directions at once.
  16. 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.
  17. The material it does pull off is daring and sharp.
  18. The naked, artless display of nerve and rebellious bile is altogether unique in modern movies.
  19. The wrap-up's pretty charming, as are the performances, but the film's too heavy for its soufflé-ready ingredients.
  20. Good old-fashioned romantic entertainment, just restrained enough to skirt schmaltz.
  21. Billed cleverly as a comedy from the heart that goes for the throat. If only Brooks had had the guts to avoid the schmaltz.
  22. Its emotional sweep is ultimately undercut by murky characterizations and generic plotting.
  23. Makes for compulsive viewing even though its noirish plot doesn't make a lick of sense.
  24. This fictionalized, frequently stomach-churning biography of Australian criminal Mark Chopper Read features the most bloody ear-severing scene since "Reservoir Dogs."
  25. The result is a feast for the eyes but frequently a famine for the frontal lobes, a movie of towering imagination and middling rewards.
  26. The more we realize that we're stuck in the company of a totally relentless loser, the drearier the entire experience becomes.
  27. At once arch, derivative, and, in the end, bizarrely lyrical.
  28. Mild as satire and completely unconvincing as tragicomedy.
  29. What does it say that we have a closer relationship with the car than with the characters? It says Bruckheimer.
  30. The film has an unabashed romantic tone that's matched by Wenders' usual flair for visual drama.

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