Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,662 reviews, this publication has graded:
  • 70% higher than the average critic
  • 3% same as the average critic
  • 27% lower than the average critic
On average, this publication grades 5.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Bright Star
Lowest review score: 0 Rambo
Score distribution:
3,662 movie reviews
  1. Did I laugh? A handful of times. Did I cringe? For 101 minutes.
  2. If there's going to be a "Rush Hour 3," the filmmakers need more of the Ziyi/Sanchez women warriors to punch up the sagging cross-cultural buddy humor of the Chan-Tucker partnership.
  3. The film's recycled nature is most evident in director P.J. Hogan's attempt to marry the farcical hijinks of an "I Love Lucy" episode to an addiction scenario that would not be out of place in "The Lost Weekend."
  4. The Island could be read as a metaphor for societal ills (commercialization, conformity, pharmaceutical overkill) if it weren't so shamelessly dumb. And dumb it is.
  5. The only likable characters are ebullient Omer (Sam Golzari), a show-tune-loving reluctant Iraqi suicide bomber who comes to the O.C., and earnest William (Chris Klein), an American GI wounded in Iraq, who are mirror images.
  6. An uneven, mildly amusing, and highly derivative flick featuring a wonderful, quirky cast as a crew of art thieves who run a complex scam on the art world, and on each other.
  7. A tediously faithful remake of French filmmaker Luc Besson's terrific 2004 international hit "District 13," the Besson-produced Brick Mansions might have been mildly interesting had it been made a decade ago.
  8. It musters both the merits and the drawbacks of the landmark original.
    • Philadelphia Inquirer
  9. Yet another Hollywood serving of everyman pluck, sports division.
  10. Heights manages to make the lives of all these beautiful people seem quite tedious. Despite their accomplishments, the only thing they seem suited for is hailing cabs.
  11. Filled with close-ups of Jesus and his apostles (all the better to hide the absence of elaborate period sets), mixing quotes from the Scripture with flat exposition, this low-budget affair is earnest and, alas, more than a little bit cartoonish.
  12. Directed by Terrence Malick's editor and protégé, A.J. Edwards, The Better Angels abounds with Malick-ian moments: upward-pointing cameras capturing bodies wheeling through fields, plaintive voice-overs punctuated by Jew's harp and birdsong, a tendency to drift toward the sky and its moody tableau of clouds.
  13. Aspires to the devilish crudity and unfettered social commentary of South Park. But Zwigoff's direction lacks the exaggerated cartoonishness necessary.
  14. Thank goodness for Leslie Mann. If not for the nutball charm of this tight-wound whirlwind, the dispiriting Hollywood sex comedy The Other Woman would be close to unbearable.
  15. With his beard and '70s clothes, Reynolds looks like Val Kilmer playing Jim Morrison. Before things go precipitously south, he gives an endearing performance that proves he's ready for far more substantial roles than Van Wilder.
  16. Two Night Stand, is a clever, if uneven, romcom about Generation Y's conflicted, paradoxical views of sex and love. Featuring strong dialogue and terrific performances, the film has moments of near-brilliance, but falls apart with a lame, conventional ending.
  17. A curious screwball "noir," doesn't so much bend established genres as blend them into an unappetizing cocktail, where they curdle before pouring.
    • Philadelphia Inquirer
  18. Decidedly loopy and nonlinear, Mister Lonely is precious and artsy, but there are moments when Korine's, er, unique vision brings something bold and beautiful to the table.
  19. Alas, the conceit of a double-dating Grandson and Gramps does not produce a great many laughs in this cringeworthy film.
  20. More strident than funny, the film illustrates that old French proverb, "Marriage is like a cage; one sees the birds outside desperate to get in, and those inside desperate to get out."
  21. Most of the humor in this film arises from the ludicrous squabbles among Bateman, Sudeikis, and Day, who can springboard from logic to lunacy in a single exchange.
  22. A raunchy spoof of the disaster-movie lampoon Airplane! - does everything to get the laugh. And in the way that a broken watch is right twice a day, a shotgun comedy like this one occasionally hits its target.
  23. Mazel tov, Adam, for having three movies released in five months. You should maybe spend more time on the next one?
  24. It's a parable as timely today as when it was written. But except for Paymer as the boss who ultimately expresses empathy for Bartleby's pain, the performances are so stylized as to be drained of human emotion.
  25. The trouble with Alfie - apart from the film's existence, and the wrongheaded idea of remaking a minor classic - is that not a soul is likable.
  26. The question is not whether Murphy can do anything. He can. The question is why he would want to make a movie as squirmingly unfunny as Norbit.
  27. Feels thoroughly canned.
  28. The script appears to have been designed, created and produced entirely in 1-D: a mishmash of kidcentric antics, follow-your-dream cliches, and innocuously icky humor.
  29. Though there are chases galore and stampeding dinos aplenty, Dawn of the Dinosaurs is a nicely rendered travelogue without storytelling. There is little to bring an audience along for the ride.
  30. Has a low-key tone that works in its favor for a time.

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