NPR's Scores

  • Movies
For 1,021 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 4.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 12 Years a Slave
Lowest review score: 0 This Means War
Score distribution:
1,021 movie reviews
  1. This is a movie for those who watched Liam Neeson in "Taken" and thought, "Hey, this is fun, but can we do it without having to wait 15 minutes for the action to start?" Solomon has 90 minutes at his disposal, and doesn't want to waste time with setup.
  2. Anderson's repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of Pompeii — is firmly in the lovably trashy spirit of the '50s drive-in.
  3. Weighed down by its plodding mediocrity.
  4. Despite Benhiby's best efforts to create one from many, the only thing the roughly 10-minute segments in New York, I Love You have in common are a general air of indifference.
  5. Miles ahead in terms of production values and a conscious avoidance of overt proselytizing. It will likely be an enormous success with the evangelical communities at which it's targeted. That doesn't save it from being an utter failure outside that narrow context.
  6. A witless ninny of a movie about Italy, romantic disillusion, Shakespeare, history, more Italy and getting to "yes" in love and intimacy.
  7. A deeply off-putting independent comedy.
  8. As the loosely aligned band of survivors turns into a pack of sociopathic loners, the only reasonable conclusion is that they were all pretty rotten to begin with.
  9. Olek never decides what his film should be, and the result takes wild stabs at slasher gore, supernatural horror, black comedy and even social commentary, thanks to a zero-hour attempt to tie things up with a morality tale about the damaging effects of organized religion.
  10. What's the difference between an action figure and an action star? Very little in G.I. Joe: Retaliation, which features no performances of note, even from such combat-tested thespians as Bruce Willis, Jonathan Pryce and Dwayne Johnson.
    • 37 Metascore
    • 25 Critic Score
    There's a stiffness to the actors' performances that reinforces the film's ambiguous tone. And Chen's use of jump cuts is jarring and arbitrary, their ubiquity upping the ante on the film's already tiring hyperactivity.
  11. The result isn't fresh and realistic, though; it's clumsy and stilted. Improvised dialogue can work wonderfully if the actors have a solid feel for their characters, but everyone here seems rushed and uncomfortable.
  12. None of them -- not one, not for a moment -- is remotely funny.
  13. The film becomes particularly risible when family matters come into play. Since the young demigods, by nature, are raised in single-parent homes, their encounters with the gods are characterized less by wonder than by the therapy-speak of wounded kids with daddy issues.
  14. This is a movie so in love with its own supposed cleverness that it never realizes it's not all that clever.
  15. The Change-Up's spin on the material transplants the same old house on a crumbled foundation, trying to disguise its creaky familiarity with the gaudiest coat of paint possible.
  16. There are swords and sorcery, pirates and monsters, taxed bodices and taxing mythology. In other words, there's the bare minimum necessary to summon this dismal movie into existence.
    • 48 Metascore
    • 20 Critic Score
    Project X strives to appall, and it would be similarly self-deluded to pretend this jumble of ecstasy and crotch shots is anything other than repulsive.
    • 28 Metascore
    • 20 Critic Score
    What is watchable here is made possible by the sheer will of the gifted Moretz, who's in every scene as the precocious Luli.
  17. My advice to potential audiences: Find something else to do.
  18. Hafstrom, on the other hand, has some serious work ahead of him if he wants any kind of absolution after this wreck.
  19. Along with the rest of the movie's fine cast, Franco presumably believes he is in the presence of art. Me, I know a fire hose when I see one.
  20. The only apparent reason Tooth Fairy exists at all is to squeeze tough-guy ex-wrestler Dwayne "The Rock" Johnson into tights and a tutu. As comic ideas go, that doesn't stretch much further than the poster.
  21. Tedious to watch and torture to listen to.
  22. The shame of it is, all this ridiculousness might have worked under surer hands. After all, farces are supposed to be a little silly, and the audience, for lack of a better phrase, can be trained to just go with it. The trick? Don't treat us like a bunch of Palmers.
  23. I Am Number Four's CGI sequences are murky and dark, its performances negligible, its script genuinely inept. There is, I should note, a puppy, which arguably keeps the film this side of completely unbearable, but just barely.
  24. The words "florid" and "inert" are not quite antonyms, but it would nonetheless seem impossible for those two adjectives to apply to the same thing. And yet here comes The Paperboy, a swamp noir so spectacularly incompetent that even the ripest pulp attractions are left to rot in the sun, flies buzzing lazily around them.
  25. This movie, like all of Sandler's, insists on its star's likability.
  26. With the material they're given, they mostly just seem foolish for showing up to the movie to begin with. Audiences would do well to avoid the same mistake.

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