ReelViews' Scores

  • Movies
For 2,822 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Untouchables
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,822 movie reviews
  1. There's enough fun to be had that it's almost possible to ignore the stupidity of the story and the cavity that replaces character development.
  2. After a while, Factotum surrenders to monotony and only the performances are likely to retain the viewer's interest.
  3. Four words say all that needs to be said about Shrek the Third: more of the same.
  4. This is probably Murphy's best comedic performance since "Bowfinger." The adrenaline is pumping and the outrageousness is dialed all the way up. Murphy is often funny, and occasionally hilarious.
  5. Has a fascinating premise; it's the execution that's sloppy.
  6. 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.
  7. 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.
  8. If you take away Albert Nobbs' twist, all that's left is a project that would have been at home on Masterpiece Theater during its heyday.
  9. The story is unfocused and the character development is virtually nonexistent.
  10. Features minimal dialogue. It is mostly about mood and images, and it moves at a glacial pace.
  11. I suppose High Art is as good a name as any for this pretentious melodrama, an often- diverting but ultimately pointless attempt to wed intellectual twaddle with a soap-opera-ish lesbian romance.
  12. Although Like Crazy contains some emotionally on-target scenes, the movie as a whole feels glum and artificial. The characters, especially the male lead, are so low key that they're frustrating to watch.
  13. 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.
  14. 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.
  15. From the beginning, it's apparent that there's something "off" about Youth in Revolt. It's not that the film is fatally flawed, but the tone is uneven, the satire is blunt, the comedy rarely generates more than feeble laughs, and the lead character never comes fully to life.
  16. Fuqua's portrait of Brooklyn is brutal and gritty; if only his characters were as vivid.
  17. From a purely technical perspective, Charlotte Gray is expertly made -- the cinematography and music are evocative, and lead actress Cate Blanchett has no problem holding our attention. But, while Armstrong gets the notes right, she fails to play them with inspiration.
  18. Angel-A is an intriguing film, but more of an interesting failure than an offbeat success.
  19. 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.
  20. For those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment.
  21. For 60 minutes, the movie appears to have found the right tone and approach, then everything goes wrong. It's rare to see a production that starts so strongly finish so weakly.
  22. There are times when, as diverting as it can be, Next Stop, Wonderland feels like a lengthy prologue to an as-yet unmade film.
  23. If this truly is Ridley Scott's preferred cut, he has proven unable to justify the existence of yet another Robin Hood film.
  24. Bogged down by many of the problems that have plagued Disney's recent traditional animated features: anonymous voice work, poor plot structure, and the mistaken belief that the Disney brand will elevate anything to a "must see" level for viewers starved for family friendly fare. If there's a bright side to Chicken Little, it's that kids will love it.
  25. Unfortunately, Voight is not in every scene, and, when he's absent, Varsity Blues has a tendency to flounder, descending into the realm of formulaic sports movie melodrama.
  26. After starting out as a character-based ensemble piece, The Best Man Holiday turns into a predictable affair determined to hit as many familiar beats as possible while striving to wring tears and cheers in equal quantities from its audience.
  27. Expectedly lowbrow and grotesque, but there are some truly inspired moments.
  28. The Hunter works best as a travelogue and a thought-piece about the ugly, shadowy side of resurrecting dead species.
  29. Ready to Wear doesn't have enough substance to justify its length, nor does it possess enough raw humor to leaven the flat spots. The jokes are inconsistently funny, with some being worth giggles, some eliciting hearty chuckles, and some prompting little more than shrugs.
  30. One expects a movie called Abraham Lincoln: Vampire Hunter to be rich in wit and black humor, but writer Seth Grahame-Smith and director Timur Bekmambetov opt to play things reasonably straight.
  31. Age of Ultron disappoints not because it's irredeemably bad but because it fails to achieve the level of its predecessor in nearly every facet.
  32. The tone, which veers uncertainly between dark comedy and suspense, is uneven, and the characters are not vivid enough to stabilize the load of a shifting, runaway plot.
  33. Unfortunately, like far too many films, this one gives up the ghost during the last fifteen minutes, saddling an otherwise-enjoyable film with a dumb ending.
  34. While the voice acting is fine and the story is nicely paced, the visuals are disappointing.
  35. Comes across as a lame wannabe - a romantic comedy that lacks the level of outrageousness necessary to elevate it about the countless trite entries into the bloated genre.
  36. Sadly, the elements that made the book special did not survive the transition to the screen.
  37. The lack of a creative driver behind the film leads to a level of fundamental dissatisfaction. The movie delivers all the necessary elements but their impact is dull.
  38. The problem with In Time, to the extent that it is a problem, is that an intriguing premise turns into window dressing for a somewhat routine "Bonnie & Clyde"-meets-"Robin Hood" action thriller with car chases, heists, and gunplay.
  39. The writer/director may have a deep understanding of his material, but Mr. Jealousy doesn't offer anything original or remarkable, and, while what the film is saying often strikes a responsive chord, that alone isn't enough to earn it an enthusiastic recommendation.
  40. More bland than bad, And So It Goes is being dumped into a crowded mid-July schedule in the hope that someone tired of noisy blockbusters might see it. The problem is, as antidotes go, this one is most likely to induce sleep as a means of relief.
  41. The film has its share of high points, but the flaws are frustratingly obvious and impossible to overlook.
  42. In short, Flash of Genius fails to make viewers care with any depth about the story it's telling.
  43. As it is, it's a passable diversion.
  44. Would probably have been more enjoyable if Berkowitz was less irritating. As a character, his only redeeming quality is his self-deprecating humor.
  45. Despite the clever premise and several laugh-aloud moments, the film as a whole underwhelms.
  46. Certainly, the story told by The Monuments Men is worth telling and it's easy to see why a luminary like Clooney would be sufficiently attracted to want to direct it. Unfortunately, this treatment, written by Clooney and long-time collaborator Grant Heslov, isn't the best fit.
  47. Some of the funniest scenes belong to Ice Cube's "angry black captain" who goes on profane rants that would make Samuel L. Jackson proud.
  48. The performances are solid but I walked out of the theater thinking I might have been equally edified and entertained reading the man's Wikipedia entry.
  49. This film is aesthetically pleasing but not emotionally satisfying. It's occasionally erotic but rarely dynamic.
  50. Two words that come to mind when considering The Judge are generic and predictable. It's also well-intentioned and earnest (perhaps to a fault).
  51. 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.
  52. Constantine will appeal most strongly to those with a penchant for vivid cinematic comic book adaptations.
  53. A perfect example of how solid directing and good acting can almost redeem a derivative story.
  54. No one will ever confuse Ron Howard with Robert Altman. So, instead of a potentially hilarious satire, we're left with, as one character in the film puts it, "a joyous celebration of boobery."
  55. Its strength is its humor, which is half-"Seinfeld" and half-"Sex in the City." There's a reason why those shows ran for only 30 minutes each - it's difficult to sustain comedic momentum for longer, as becomes apparent here.
  56. It's nice to see Clooney choosing something offbeat (as opposed to "safe") for his first outing behind the camera. If he continues to develop, he has the potential to become a good director -- he's just not there yet.
  57. Feels jumbled and disorganized. It's not altogether unpalatable, but that doesn't present it from being a mess.
  58. I didn't feel strongly one way or another about The Kings of Summer. It's too innocuous to actively dislike but there's nothing memorable here. The characters are bland; the comedy, while occasionally eliciting laughs, is lukewarm; and the relationships never gel.
  59. Delivers its share of cheap scares but never unlocks the door to the creepiness that would have made this is memorable movie-going experience.
  60. An incomplete movie, artlessly cleft in the middle. Cinema interruptus.
  61. The movie is generally entertaining, if only because the three primary characters capture the audience's sympathy, but the story doesn't contain much honest drama.
  62. Essentially a one-joke movie that milks its central conceit long after there's nothing left.
  63. Star Trek VI is an improvement over its immediate predecessor, but it lacks the energy and thrills supplied by some of the lower-numbered sequels. The original crew of the Enterprise is apparently fated to fade away rather than going out in a proverbial "blaze of glory."
  64. Adequate light entertainment for those who enjoy thrillers, but it is uneven and the underwhelming ending will disappoint those who enjoyed the delicious irony served up by its predecessor.
  65. The Net starts off strong but finishes weak, and if not for the presence of actress Sandra Bullock, who graces nearly every scene, this movie might have been a snoozer.
  66. The Wedding Ringer is imperfect but its imperfections are tolerable because they're accompanied by a dollop of drama, a measure of laughter, and an oversized helping of Kevin Hart.
  67. While Bean branches out from the format developed for the television series, it remains faithful to the concepts and constructs that led to its success.
  68. Director Robert Rodriguez understands the exploitation genre and delivers everything one craves from it - over-the-top, graphic violence; scenery-chewing villains; cheesy one-liners; and plenty of naked boobs and bums.
  69. 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.
  70. Tomorrowland is an interesting collage of moments and ideas in search of a strong narrative and a coherent ending.
  71. 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.
  72. Satisfies on a visual and visceral level while leaving the intellectual one cold and shriveled and starving.
  73. The result, while capable of painlessly occupying 90 minutes, isn't remarkable enough to recommend as more than a home video rental.
  74. 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.
  75. This movie was made to be shown to junior high history classes, not audiences in a movie theater.
  76. 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.
  77. Though Kansas City has its share of arresting moments, the production as a whole is too superficial to be considered amongst the director's best work.
  78. Larry Crowne should not be mistaken for a masterpiece. It is summer entertainment: genial, undemanding, lightweight.
  79. Deadfall suffers most obviously from a sense of not being adequately developed.
  80. 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.
  81. The real problem with Fahrenheit 9/11 isn't that it attacks the current Republican administration, but that it does so clumsily and with poor focus.
  82. A serviceable thriller - no more, no less.
  83. So howlingly awful that it has unwittingly found a place in that elite group of films that can claim to be "so bad they're good."
  84. From start to finish, A Life Less Ordinary feels like a group of sometimes amusing, sometimes clever, and sometimes tedious skits forced to fit together.
  85. Wyatt Earp's attempts to cover so many years lead to too many scenes with little emotional power. The film doesn't shoot blanks, and it is better than Tombstone, but, considering the names involved, a little disappointment isn't out of the question.
  86. The best medium in which to view Countdown to Zero is on The History Channel, not in a theater.
  87. 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.
  88. 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.
  89. Like its main character, the production rarely seems ready for prime time.
  90. The central problem with Rise of the Planet of the Apes is that it feels more like a piece of something larger than a complete motion picture.
  91. P2
    P2 doesn't crash and burn, but its finale is more generic than what the effective first hour leads us to hope for.
  92. 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.
  93. Director Clark Johnson and screenwriter George Nolfi (adapting the novel by Gerald Petievich) do an excellent job of setting things up and getting the story underway. Unfortunately, some of their hard work is undone during the movie's final third.
  94. To really work, The Bourne Legacy either needed to turn the title character into a 007-type who can change his face or bring back Damon in some capacity, even if just for a cameo. Neither happens and that works to the movie's detriment.
  95. This is one of those middle-of-the-road art pictures that will impress some music lovers and attract a small audience, but won't really excite anyone. Copying Beethoven does not do for its title composer what Amadeus did for Mozart, and that's a shame.
  96. Indy's companions are weak; we don't identify with them the way we did with Marion and Sallah. There's less action and more overt comedy, and neither change works to the benefit of the story.
  97. An interesting plot element or two and a stylish visual approach can't save James Foley's The Corruptor from coming across as a run-of-the-mill cop movie.
  98. An example of a vampire movie for the new century -- stylish, gothic, gory, and loud.
  99. The problem with the film has little to do with the central triangle, which is engaging enough in a formula-driven way, but with the myriad uninteresting subplots that dot the cinematic landscape and have the unfortunate effect of padding the proceedings to the point of unwieldiness.
  100. 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.

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