Mr. Showbiz's Scores

  • Movies
For 721 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Together
Lowest review score: 0 Dude, Where's My Car?
Score distribution:
721 movie reviews
  1. Just try not to smile while watching Jump Tomorrow.
  2. Mild as satire and completely unconvincing as tragicomedy.
    • Mr. Showbiz
  3. Makes for compulsive viewing.
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  4. 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.
    • Mr. Showbiz
  5. Wincer keeps the insubstantial story moving and the comedy light.
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  6. A smirky black comedy that, like its John Lurie score, is jazzy, dry, and light on its feet.
    • Mr. Showbiz
  7. 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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  8. 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").
    • Mr. Showbiz
  9. Strictly where the boys are: posing, posturing, and talking engine envy.
    • Mr. Showbiz
    • 73 Metascore
    • 60 Critic Score
    This is, recognizably, an indie film, in the best sense of the term.
    • Mr. Showbiz
  10. Ultimately too slight and opaque to inspire much ardor.
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  11. What does it say that we have a closer relationship with the car than with the characters? It says Bruckheimer.
    • Mr. Showbiz
  12. The overlapping dialogue and the comedy of famous people playing self-variations is pure Altman (Leigh, not surprisingly, has worked in three Altman films).
    • Mr. Showbiz
  13. 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.
    • Mr. Showbiz
  14. 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.
    • Mr. Showbiz
  15. 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.
    • Mr. Showbiz
  16. For some viewers, this will seem a trial of predictability and unrelenting sweetness; for others, it's more than enough.
    • Mr. Showbiz
  17. A mess, bouncing nonsensically from one style of farce to another, leaving large vacuums and dead spots — which may themselves, of course, be deliberate.
    • Mr. Showbiz
  18. Makes for compulsive viewing even though its noirish plot doesn't make a lick of sense.
  19. One
    Too much of a study in formalism to register deeply on an emotional level.
  20. The more we realize that we're stuck in the company of a totally relentless loser, the drearier the entire experience becomes.
    • Mr. Showbiz
  21. 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.
    • Mr. Showbiz
  22. For the most part, it's when the women do the singing -- that Songcatcher really comes alive.
  23. Sags, lollygags, and blusters too much to sustain the what-the-hell momentum that Kitano achieves in his best movies.
    • Mr. Showbiz
  24. Quite handsomely produced, and there's a definite swashbuckling verve to it. Most of the characters have been contemporized, but the actors are engaging.
    • Mr. Showbiz
  25. Too often, the movie is more forced and frantic than actually funny.
  26. Pure, irrational, claustrophobic, gritty, unpretentious.
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  27. It's not a movie you could call dispassionate, however aimless and unfocused. It's a Molotov cocktail tossed in several directions at once.
  28. Its emotional sweep is ultimately undercut by murky characterizations and generic plotting.
    • Mr. Showbiz
  29. 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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