Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,692 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 Amy
Lowest review score: 0 Rambo
Score distribution:
3692 movie reviews
  1. If only RocknRolla's characters were at all believable - even in the context of its own cartoon universe.
  2. Much as I adore Martin and Hunt, whose matching tongue-in-cheek delivery and finite patience make them seem more like siblings than spouses, their movie is indistinguishable from an Afterschool Special.
  3. Speechy and preachy and just a teeny-weeny bit naughty.
  4. One thing Kidman is not is a clown. She thinks fizzy and dizzy and klutzy are funny. She is mistaken. To be a clown requires a kind of witchcraft.
  5. A formulaic and fuzzy feel-good movie.
  6. The real problem is that there's nothing to George but the movie's props.
    • Philadelphia Inquirer
  7. Too much Good Friday and not enough Easter Sunday. Emphasizing Jesus' agony over His ecstasy, Gibson has delivered a blood-drenched epic more stunning for its brutal violence than for its depiction of the calvary.
  8. There's not a believable character, nor line of convincing dialogue to be found.
  9. Unfortunately, this all proceeds at a supersonic tempo, with Shyamalan's directorial finger stuck on the fast-forward button. Significant plot points whiz by in this movie equivalent of speed-dating.
  10. There is no shape or pacing to Daniel Petrie's movie. It's like a bottle of soda left uncapped. So thus a story that promised effervescence ends up being flat.
  11. It's overstating things to say the stars of Fantastic Four are Miles Teller, Kate Mara, Michael B. Jordan, and Jamie Bell, because I can't remember the last time four actors appeared less invested in a movie for which they've teamed up.
  12. Run All Night isn't dull. The pace is breakneck, and necks get broken. But the violence is relentless, ugly, unredeemed by any real humanity.
  13. Loaded with careening car chases and rooftop runs, glass-shattering shootouts and exploding fireballs, Killer Elite offers more than enough to keep action junkies happy.
  14. You want to cut Cop Out some slack because it's just so darn eager to please. So let's grant that it will make a reliably fun companion when it's on cable 10 times a week.
  15. The lead performances are very strong -- few actors possess as much sheer physical presence as this pair -- but their dialogue is stilted, as though lost in transit from a Victorian hothouse.
  16. Individual moments in Hit and Runway are quite funny, but as a send-up of action-movie mindlessness, the movie is sometimes as dumb as its targets.
    • Philadelphia Inquirer
  17. The script, which needs not just doctoring and could benefit from a spell in the critical-care ward, is full of dress-up and put-downs, and comes alive only when Prinze or Cook are on-screen. In short, She's All That aspires to be Clueless. It succeeds in being clueless.
  18. Stevenson is big and swarthy and not altogether without credibility, but he's got as much charisma as a potato.
  19. A loving ode to screwball comedies from the Golden Age of Hollywood that never approaches the films it pays homage to.
  20. McKellen, Hanks and Tautou - and Alfred Molina, as a bishop with an agenda - are no slouches when it comes to emoting, but screenwriter Goldsman's rigorously faithful interpretation of Brown's flatfooted prose stylings is the filmic equivalent of putting big chewy baguettes in the actors' maws.
  21. Just as a fistful of drooping stalks does not a bouquet make, director Charles Herman-Wurmfeld's random collection of think-pink gags, canine couture and smart/dumb blonde jokes does not a comedy make.
  22. Tillman, who made a splash last year with his hip-hop hit "Notorious," does a nice job of calling into question the assumption, shared by most genre films, that vengeance is the only right course of action.
  23. Too cute by half (or maybe three-quarters).
  24. Finally - and the news should really come as a relief - here is a role Streep should not have tried, in a movie that should not have been made.
  25. For all its visual delights, Magic in the Moonlight, the 44th feature written and directed by the admirably industrious Woody Allen, has to be one of his bigger duds.
  26. The best thing about The Thing, the third - and the least interesting - big-screen adaptation of the John W. Campbell Jr. short story "Who Goes There?", is its closing credits.
  27. It's a stylish package with not much inside.
  28. This story truly is inspirational and a lesson about civic responsibility. However, it makes for little more than a TV movie or a straight-to-video snack.
  29. The trailers already have given away the "surprise" cameos in The Expendables, so try not to blink when Stallone goes into a church (shades of John Woo) to meet his mystery boss, played by a bald-pated, trademark smirking Bruce Willis.
  30. So although this multicharacter stew has a tasty morsel or two, in the aggregate it makes one long for the comparative complexity and subtlety of "Valentine's Day."
  31. And did I mention that it's long? It's long.
  32. Get the soundtrack; wait for the movie to come to CMT.
  33. For all its grand promises, Ip Man 3 teeters uneasily among B-movie clich├ęs.
  34. The Possession has none of the suspense that made Bornedal's morgue thriller "Deathwatch" such shuddering good fun. And despite the absurdly overwrought Bernard Herrmann-esque score, it has very few genuine shocks.
  35. It's a fun gimmick -- the sartorial equivalent of those red shoes in the fairy tale that made an ordinary girl dance like Terpsichore -- if not an altogether fun movie.
  36. By turns pleasant and preposterous, The Greening of Whitney Brown is a reverse Cinderella tale for tweens.
  37. The offbeat comedy is not entirely devoid of charm, but its derivativeness is almost embarrassing.
  38. Mildly diverting but slight, the screwball comedy Gray Matters changes it up, more or less creating its own genre, the curveball farce.
  39. Alas, it's a throwback that's thrown its back out - limping along, trailed by battalions of stereotypes and ammo rounds of cliche.
  40. One of the most uncinematic pieces crafted by an otherwise fine stylist, Cymbeline befuddles with its ineffective blocking and lack of art direction.
    • 30 Metascore
    • 50 Critic Score
    It's the sort of stuff younger viewers will love.
  41. Reality aside, The Watch is harmless enough - and even occasionally humorous, in a riffy, sketch-comedy kind of way.
  42. It has its moments of swaggering camaraderie, but more often just feels generic, derivative and done to death.
    • 46 Metascore
    • 50 Critic Score
    The cast, headed by the divine Jamie Foxx, is better than the material. Director Daniel Taplitz is better than the material.
  43. Gyllenhaal is particularly unsuited to this role, his saucer eyes flashing from calm to crazed.
  44. Peppy, painless and -- happily -- not altogether brainless.
  45. Fairy-tale-like musing on true love in cynical times.
    • Philadelphia Inquirer
  46. Alternately tedious, cliched and unintentionally funny.
  47. Dumb, dumb, dumb - borrowing scare tactics from Hitchcock and other suspense masters, but forgetting basic story.telling essentials such as character development and logical exposition.
  48. Zemeckis, who blazed trails mixing live-action with animation in "Who Framed Roger Rabbit," blazes not even a footpath here.
  49. On the plus side are engaging performances by Jason Biggs and Christina Ricci. On the minus side is . . . everything else.
  50. The film has two curious subplots and supporting performances that feel tacked on rather than organically part of it.
  51. There's nothing Disneyesque about this bomb except the forced levity of its musical score.
  52. The cast is full of fresh-faced unknowns ready for their close-ups. Most likely to succeed is Kayla Jackson, an almond-eyed dreamer, as Brittany, anchor of the Ovations and of her family.
  53. Where Finding Nemo suggested that under-the-waves adventure was limitless, Shark Tale suggests that this sea is over-fished. The krill is gone.
  54. "There's nothing here!" screams Romina Mondello - Kurylenko's Euro gal pal, walking the deserted sidewalks of this Anytown, U.S.A. Boy, truer words . . ..
  55. Despite its penchant for the crude and lewd, is gooey in ways that have nothing to do with bodily fluids.
  56. A film that continues to grow more perplexing as it walks, not runs, toward an unsatisfying end.
  57. Two of its youthful actors, although adorable, are not skilled enogh to carry their parts.
  58. Freeman and Hoskins lend the film a level of artistry it doesn't really deserve. Unleashed has a vivid concept, but savagery and sentimentality make strange costars.
  59. If, like me, you were hoping for "Scarface" as a hip-hopera, I am sad to report that Get Rich or Die Tryin' has heat, but not sweep.
  60. xXx
    Less a movie than a collection of pretty cool action set-pieces, linked together with some seriously awful acting and dialogue that even Dr. Evil couldn't deliver with a straight face.
    • 34 Metascore
    • 50 Critic Score
    It's low-energy, and it's also depressing to know that people are still listening to Van Halen 20 years from now.
  61. Throughout Flatley, now 52, is triumphal and indefatigable. There are two mysteries here: From whence comes Flatley's boundless energy? And why does it make me feel so tapped out?
  62. The Weather Man belongs to a school of earnest, artsy Hollywood flicks that includes the Michael Douglas-goes-bonkers "Falling Down," and a lineage that goes back to revered 1970s pics like "Five Easy Pieces."
  63. Evening might be the most shocking waste of natural resources since the despoiling of the Amazon rain forest.
  64. This is the type of movie best enjoyed as a late-night indulgence on cable. Really late at night, when your eyes are still partially open, but your brain has called it quits.
  65. In some scenes, Faris' sheer velocity gives the movie liftoff. In others, it doesn't hurt that Evans, who looks like the very young Alec Baldwin, and has the sonorous voice of Mark Feuerstein, is the film's sex object.
  66. At this point in her career, Lopez can clearly bend the universe -- but no amount of bending can make Enough anything more than formulaic.
  67. The film is an accelerated version of MTV's perennial reality series, "The Real World," only with more drinking and more sex. The results, however, are the same.
  68. Stiff but handsome film, there's little sense of the conflict and complexities that drove Alma Mahler.
    • Philadelphia Inquirer
  69. By the end of Machine Gun Preacher, its title character has become a cartoon.
  70. With clunky dialogue...I Am Number Four puts the burden on its special effects (passable) and the chemistry between Pettyfer and Agron.
  71. If illuminating dawns and dusks had basked Mia Wasikowska and Henry Hopper in a rosy glow, the mopey cuteness of Restless would have been too much to bear.
  72. Ultimately, this movie cowritten by Shelton and former L.A. police detective Robert Souza has more laughs than suspense, but not enough of either.
  73. A movie that provokes as many rueful sighs as it does bruising laughs.
  74. A thriller is only as good as its villain is bad, and this is the film's problem.
    • Philadelphia Inquirer
  75. Jeremy Irons slithers on board with a haughty sneer and papal vestments, playing Bishop Pucci.
  76. The main distinction of this particular raunchfest, about the economic opportunities available to women in the phone-sex industry, is that it does not reconcile its slim narrative conflict with a big, fat wedding.
  77. On many levels, Kingsman has the makings of a sure-fire hit. Yet, this is one spy story even the most dedicated addicts of the genre would do well to miss.
  78. Freely mixing reality therapy, fairy tale and satire, Dobkin's film does not maintain a consistent tone. Is it a seriocomedy about brothers who need to work on unfinished business? Is it a holiday fable about a Scrooge who comes to surf the yuletide? Is it a satire in which an efficiency expert (Kevin Spacey) puts pressure on St. Nick to outsource gift allocation and distribution?
  79. A creaky, cliched, feel-good family drama about learning to stop and smell the roses - and planting a vegetable garden while you're at it - Uncle Nino is shameless, sappy fare.
  80. Dizzyingly incoherent and subversively surreal, this sophomore effort from the man who made the great, strange "Donnie Darko" is certain to have its fans. I'm not going to be one of them.
  81. Has its compelling moments, and its playfully inventive ones, too.
  82. Most parents will find the movie has the familiar feeling of one of those kid birthday parties where the little ones are on chocolate highs and the adults run out of scheduled activities after 20 minutes.
  83. A big comedown from "The Fighter," Contraband finds Wahlberg in default mode: With his Popeye biceps and broody stares, the actor can do a character like Chris without even thinking about it - and that's what he does here.
  84. There's real hypocrisy here. If a movie like Fifty Shades of Grey is supposed to offer a voyeuristic experience - and not a ridiculous experience - have some integrity about your nudity. Despite what the filmmakers may want to believe, there isn't a lot else going on here. Fifty Shades of Grey Matter, not so much.
  85. Jonathan and Christopher Nolan's adaptation of this novel by Christopher Priest offers three acts of exasperating muddle.
  86. Like other entries of its pulpish ilk, the picture packs lots of violence, a fair bit of gore, and plenty of cheap scares.
  87. Not exactly a hundred million dollars' worth of classic comedy.
  88. The film is intermittently funny and strangely intermittent.
  89. Unravels in a series of spooky dream sequences, dopey detective work, and a couple of richly hambone-ian De Niro soliloquies.
  90. Over-orchestrated and underdeveloped interpretation of Jeffrey Hatcher's play.
  91. Just about the only folks likely to find this humdrum hybrid of "Mission: Impossible" and "The Wind in the Willows" worthy for consideration are non-discriminating pip-squeaks.
  92. With a clamorous soundtrack and a whirl of elaborate chases and busily choreographed fight scenes, this is Sherlock Holmes with Attention Deficit Disorder.
  93. A sappy excursion to Edwardian days.
  94. Think Jerry Lewis doing Eminem, or maybe it's Eminem doing Jerry Lewis (or maybe it's Pauly Shore doing Vanilla Ice), and you've got B-Rad.
  95. Despite a winning performance by Anna Faris, the cutest thing in platform shoes since Goldie Hawn, the film falls on its keister so many times that before long the perky pinkness turns bruising black-and-blue.
  96. Preposterous, if diverting, revenge fantasy that rivals Rambo in sheer narrative chutzpah and vigilantism.
    • Philadelphia Inquirer
  97. There are sniff movies and there are snuff movies, but Perfume: The Story of a Murderer is both. It has the bouquet of balm and blood. Imagine "Fragrance of the Lambs."

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