ReelViews' Scores

  • Movies
For 2,764 reviews, this publication has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Goodfellas
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,764 movie reviews
  1. There are enough similarities between the movie and "Pride and Prejudice" that one could be forgiven thinking this screenplay is Austen lite.
  2. The problem with Rocket Science is that the character at the center of the drama isn't very energetic or, truth be told, interesting. This makes it difficult at times to remain engaged in the unfolding tale.
  3. Weak dramatically, and that limits its overall effectiveness.
  4. Feels a bit like a missed opportunity. It's too bad the motion picture as a whole isn't as quirky and clever as its double-edged title.
  5. There's a little bit of "Kiss Kiss Bang Bang" in Shoot 'Em Up, although this production isn't as smart or as slick.
  6. The last scene of In the Valley of Elah may be the most ridiculously ham-fisted and over-the-top moment in all of 2007’s supposed prestige cinema.
  7. The movie develops in two pieces - one dealing with the quest for the hidden riches and once concentrating on the relationship between father and daughter. The latter works; the former doesn't.
  8. There's real heart to be found in the story but it comes along with borderline saccharine sentimentality, a too facile ending, and clean outcomes that aren't earned.
  9. It’s far less engaging than the recent "3:10 to Yuma" remake and concentrates more on the details than the broad picture.
  10. The film comes across like a soap opera and there are too many characters and storylines for any one of them to grab the heart and imagination. The film isn't painful but it is disappointing.
  11. Technically and thematically, there's a lot in The Darjeeling Limited to arrest the attention. Emotionally, there's a void.
  12. The book tore at my heart; the movie left me strangely unmoved.
  13. It is neither as clever nor as funny nor as inventive as the daring title might lead one to expect.
  14. Elizabeth: The Golden Age lacks the intricate plotting that characterized its predecessor. The screenplay is more action-oriented but not as smart, and some of the dialogue is downright cheesy.
  15. The 1972 movie was better paced and presented a superior story but this one has its own pleasures. It's an interesting failure - a film that works more successfully as a study of technique and writing than as a motion picture.
  16. On the whole, this is another disappointing animated effort and it resides considerably lower on the totem pole than this year's current non-live action champion, "Ratatouille."
  17. P2
    P2 doesn't crash and burn, but its finale is more generic than what the effective first hour leads us to hope for.
  18. One key missing element: the world in which this story takes place never feels unique. We aren't drawn into it the way we were with Middle Earth or Hogwarts. In fact, with all the airships flying around, there are times when it feels like an extension of Stardust.
  19. In the end, the real problem with the Demon Barber of Fleet Street is that he's not as bloody fun as he should be.
  20. For those who enjoy the saturation style of humor and appreciate the way in which parody is not pushed too far into the absurd, Walk Hard is not without merit.
  21. There's not a surprising moment in the movie yet it works in spite of the stale, insipid storyline. That has a lot to do with lead actress Katherine Heigl and a little to do with the glowing embers between her and her co-star, James Marsden.
  22. The movie as a whole is pleasant, generally satisfying, and has a heart as big as its funny bone. For an early January movie, this is sometimes as good as it gets.
  23. In the Rambo canon, where does this one fit? The tone is closer to "First Blood" but the body count is more "Rambo III." No matter how one dices and slices this new Rambo, the first one in 20 years, it will likely please fans of the long-in-the-tooth series.
  24. It's refreshing for a romantic comedy not to follow the formula by rote. I only wish I could be as enthusiastic about the amount of screen time accorded to certain characters who are more tedious than endearing.
  25. The movie isn't entirely successful as a romance or as an adventure, which makes the experience of watching it feel shallow and hollow, sort of like the stars and the plot.
  26. The acting is top-notch. Colin Farrell, who seems to be gravitating increasingly toward smaller films, effectively channels his manic energy. He and Brendan Gleeson display chemistry in the Odd Couple vein, occasionally giving rise to instances of humor. Ralph Fiennes plays one of the most twisted roles of his career.
  27. Liman applies the same frenetic approach to action scenes that made "The Bourne Identity" such an engaging and exciting affair.
  28. Predictable this isn't, but that can be seen as both an asset and a detriment.
  29. It's a fast-paced motion picture that fails the "reality test" but maintains a certain intensity for its entire running length. It's entertaining in the same way that an episode of "24" is entertaining.
  30. It's not the best of modern fairy tales but it's sincere and Christina Ricci's earnest and vulnerable performance touches the heart. Penelope is flawed but not irredeemably so.
  31. This is a workmanlike motion picture with solid performances. It's just that the superior production values are used in service of a mediocre storyline.
  32. Frankly, Snow Angels is a downer. This isn't inherently a negative - after all, some of the cinema's most powerful motion pictures are downbeat. However, in this case, there's no emotional force behind all the gloom - just a sense that something's missing.
  33. There's nothing especially wrong with Nim's Island, but there's not a lot right about it either.
  34. The main problem with Smart People is that it never breaks new ground. This is territory we have seen tilled to better effect by more perceptive motion pictures.
  35. Despite the predictability of the overall story arc, there's suspense and tension to be found between the credit sequences, but the movie is saddled with an ending that is both improbable and borderline insulting.
  36. There's nothing terribly wrong with Baby Mama but it's probably better suited for viewing on television, where many of the participants cut their teeth. This is small screen stuff masquerading as something bigger.
  37. The movie is unpolished, unabashedly un-PC, and takes on as many "sacred cows" as it can uncover in a slightly-too-long 105 minutes.
  38. The plot is borderline ridiculous and certainly doesn't stand up to close (or even not-so-close) scrutiny, but there's a level of entertainment to be had watching it unfold in all its strangeness.
  39. The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative.
  40. Sadly, about the nicest thing I can say about What Happens in Vegas is that I didn't hate it - although I suppose that's something.
  41. Occasional bursts of comedy keep things from becoming unbearable but whenever Myers tries to get even a little serious or advance the "plot," the desire to take a nap becomes almost overpowering.
  42. There are times when it is bitingly funny and times when its bloodiness can cause a wince and a shudder - but director Stuart Gordon is not adept at blending the two extremes into a cohesive whole.
  43. Sometimes funny, sometimes clever, and occasionally involving, but it's never brilliant and its edge is compromised by the neutering that accompanies the teen-friendly PG-13 rating.
  44. It's an epic pretender, not an epic contender.
  45. The movie is entertaining on a superficial level, but there's little beneath the surface.
  46. The film's biggest problem is its director. Marc Forster is an experienced art house filmmaker with impressive credits (most recently, "The Kite Runner)", but he is clueless when it comes to action sequences.
  47. An atypical Allen film. Some of his usual themes are present - in particular, his neuroses about sex and love - but this movie does not bear enough Allen hallmarks to single it out as his work.
  48. This movie is about mayhem on wheels, tough guys viewers can root for, and villains whose comeuppances audiences crave. That's what Death Race is all about and, for what it is, it does a solid job.
  49. A rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.
  50. For the Watchmen fan, this may be as close to the Holy Grail as a motion picture could come. For everyone else, a sense of frustration and disappointment is not unwarranted. Watchmen is many things but it is not the Next Great Comic Book Movie or the film that will advance graphic novel adaptations to the next level.
  51. Feels jumbled and disorganized. It's not altogether unpalatable, but that doesn't present it from being a mess.
  52. One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.
  53. Miracle at St. Anna is overlong and poorly focused. It tends to meander, the military context is not well established, and too much time is spent on interaction with underdeveloped secondary characters.
  54. This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.
  55. The final 15 minutes are so awful that it's difficult to believe that the bulk of the film is actually decent.
  56. Twilight isn't an especially good movie, but neither is it an abomination. At times, the dialogue is laugh-aloud bad - almost to the point of being hilarious.
  57. The movie veers with surprising ease between comedy and tragedy. Some scenes are hilarious; others are somber.
  58. The weakest aspect of The Lucky Ones is by far the conclusion, which is flat and contrived.
  59. In short, Flash of Genius fails to make viewers care with any depth about the story it's telling.
  60. While Straczynski should be commended for remaining reasonably true to the historical record, this results in an open-ended conclusion that isn't entirely satisfying.
  61. The Boy in the Striped Pajamas should be heartbreaking, but it isn't. The muted quality of its impact is the result of narrative shortcuts and a desire to keep the images from being too startling.
  62. If Madagascar 2 is the best Dreamworks can provide to go toe-to-toe with Pixar's beautiful WALL*E, then it's game, set and match to the Disney subsidiary.
  63. Enough things in Crossing Over work to keep the film from becoming a bore, but this is a definite step down from Kramer's past efforts, "The Cooler" and "Running Scared."
  64. There are plenty of small pleasures to be found throughout Darnell Martin's feature, but a compelling storyline featuring three-dimensional characters is not among them.
  65. Like fruitcake, movies like this are ubiquitous at this time of the year but rarely are they devoured with great relish or enthusiasm.
  66. Seven Pounds works better the more the viewer feels and the less he/she thinks. On an emotional level, one could decree that the movie is satisfying. On an intellectual level, it's disappointingly shallow.
  67. While the voice acting is fine and the story is nicely paced, the visuals are disappointing.
  68. For those with an adventurous and offbeat cinematic appetite, Chandni Chowk to China offers its shares of enjoyments, although there are plenty of "downs" to go along with the "ups."
  69. It's not bad enough to walk out on but neither is it good enough to walk into.
  70. Although Paul Blart is by no means great cinema, there is amusement to be uncovered as we watch Kevin James bumble his way through actions oh-so-similar to those navigated with more blood, sweat, profanity, and dead bodies than Willis. Too bad there's no "Yippekayay...."
  71. If there are any "24" fans who have wondered what the TV series might be like if Liam Neeson replaced Kiefer Sutherland, Taken provides an opportunity to have that question answered.
  72. While "Love, Actually" succeeded in providing well-developed characters in (mostly) interesting situations, He's Just Not That Into You is often flat with subplots that feel rushed and/or contrived.
  73. Unfortunately, while Fanboys has moments of success, it is mostly a middling road picture that doesn't do a lot more than any average, forgettable entry into the tired genre.
  74. The International possesses the look and feel of a thriller, but not the heart or soul of one.
  75. The wheels fall off toward the end but, until that point, Illiadis does an excellent job of generating and maintaining an intense sense of dread.
  76. Despite the clever premise and several laugh-aloud moments, the film as a whole underwhelms.
  77. The only thing that differentiates it from far too many other uninspired rom-coms is that some of the material is funny and there is an occasional edge to the repartee. Beyond that, however, it's a cookie-cutter movie, and the cookies are pretty stale.
  78. Like its main character, the production rarely seems ready for prime time.
  79. Monsters vs. Aliens suffers from the common 3D problems: dim lighting, poor focus in fast-paced action sequences, and too many distractions for the movie to grab the viewer.
  80. An offbeat romantic comedy that almost - but not quite - works. The characters and situations are a little too quirky for their own good.
  81. Crank 2: High Voltage is the freak show act at a carnival. It's so over-the-top that the phrase ceases to have meaning in this context. It's a bizarre concoction of testosterone, adrenaline, and psychedelics. It seeks not only to top its predecessor, "Crank," but to outdo itself at every turn.
  82. The problem with The Soloist is that, while Wright shows admirable restraint in dramatizing the interaction between the two principals and does not fall into the trap of following a "movie of the week" formula about mental illness, there is little emotional resonance in the story.
  83. Lacks the kind of forceful, attention-grabbing chemistry that elevates a movie in this genre from a passable diversion to a lasting source of entertainment.
  84. The marriage of these two tales, however, should have ended in divorce court.
  85. The movie hits its stride when it deals directly with the concert. The more peripheral Elliot is to the story, the better things become.
  86. The movie wears thin its welcome a couple of reels before Apatow has finished telling his story.
  87. This movie was made to be shown to junior high history classes, not audiences in a movie theater.
  88. Despite being mediocre and largely forgettable, Couples Retreat is not unpleasant, although it's easier to recommend it for home viewing than for a trip to a theater.
  89. Despite its flaws, The Box remains intriguing; however, as its mysteries are solved, the prevailing sense is one of frustration rather than satisfaction. That makes The Box worthy of the dubious label of "an interesting failure."
  90. The reason Sherlock Holmes fails at least as often as it succeeds is because more effort and attention was lavished upon the concept than upon the script. Given a worthy story, Downey's Holmes might have been memorable. Here, he's an interesting character in search of a worthwhile story.
  91. The Answer Man is a passable way to kill two hours on a lazy summer afternoon, and perhaps an excuse to get out of the heat.
  92. Just a run-of-the-mill slasher/thriller.
  93. Technically, it's superbly made; dramatically, it fails to achieve escape velocity.
  94. It's surprising to admit that the British comedian, known far and wide for his willingness to take risks, plays it safe in The Invention of Lying - a fault from which the movie never truly recovers.
  95. Extract is no masterpiece, but it's considerably better than many 2009 films that have received a more robust backing.
  96. The problem with The Book of Eli is that the narrative isn't a match for its sentiments. The script feels like it's an iteration or two short of a final draft.
  97. Splice is as much a psychological thriller and drama about bio-ethics as it is a horror movie. Like the vastly superior "The Fly," it uses gore sparingly; delivering shocks to the audience is a secondary consideration.
  98. Hicks has made a technically adept film, but one that, for all of its strong acting and vivid photography, left me less moved than I should have been.
  99. It's lively and vivid but ends up leaving the viewer indifferent to the central character, his life, and his dubious place in British pop culture.
  100. Bottom line: Do I recommend Antichrist? Tough to do, but tough not to. For those who are intrigued by the controversy, it may be worth the sacrifice, if only so you can evaluate it from a position of knowledge.

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