ReelViews' Scores

  • Movies
For 2,762 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 Lawrence of Arabia (re-release)
Lowest review score: 0 Knock Off
Score distribution:
2,762 movie reviews
  1. Comparisons to the original Bad Lieutenant are unnecessary; Port of Call New Orleans can stand - and fall - on its own merits, inconsistent though they may be.
  2. The final half-hour of Broken Embraces is littered with facile contrivances and plot turns worthy of a soap opera. It's almost mystifying, and more than a little frustrating, to watch a movie cruising at such a high level suddenly suffer a complete breakdown and lose too much altitude.
  3. A Single Man tells us about love, isolation, and sorrow, but never makes us feel any of those things.
  4. The Young Victoria feels like a wasted opportunity and is among the least impressive in a long line of motion pictures about British royalty.
  5. 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.
  6. The problem with the film is that that story, hackneyed when it first made it to the screen in 1984, has grown only more tired over the past 26 years.
  7. It is neither deep nor intelligent, but it's not intended to be either. The saving grace of the otherwise generic product is that Bell's vivacity and Duhamel's rakish charm allow the viewer to root for them.
  8. The Crazies is imperfect but it's made with a degree of assurance that will limit fidgeting and keep most horror-lovers involved for a majority of its running length.
  9. Fuqua's portrait of Brooklyn is brutal and gritty; if only his characters were as vivid.
  10. One problem with Repo Men is that there's not enough material to sustain a 111-minute motion picture.
  11. For those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment.
  12. Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary.
  13. Clash of the Titans is a flawed but mildly entertaining regurgitation of Greek mythological elements, but it's also an example of how poorly executed 3D can hamstring a would-be spectacle.
  14. No one is going to remember the movie in a month, but for Mommies and Daddies seeking a night's break from their children, it's adequate entertainment.
  15. Solid performances from David Duchovny (in a cleaned-up version of his Californication character), Demi Moore (defying age), Ben Hollingsworth, and Amber Heard can't save the movie when the screenplay goes as limp as a noodle and turns into a long string of clichés.
  16. Still, for those who feel that too few movies these days offer the pure bliss of a testosterone overload, The Losers provides an antidote.
  17. The real standout is Alfred Molina, hamming it up as a desert entrepreneur who races ostriches and avoids paying taxes.
  18. If this truly is Ridley Scott's preferred cut, he has proven unable to justify the existence of yet another Robin Hood film.
  19. As it is, it's a passable diversion.
  20. Salt is more than mere seasoning; it's a full bouillabaisse comprised of bits and pieces of James Bond, "The Manchurian Candidate," "The Bourne Identity," TV's "24," and the Nelson DeMille novel "The Charm School."
  21. The movie is still incredibly silly but in a more boisterous way, like a comic book come to life.
  22. It's solidly entertaining for what it is and, while it does little to truly rejuvenate the franchise, at least it lessens the pain caused by two gimmicky cross-over pictures that sucked too much juice out of what was one of the 1980s' most surprisingly tense sci-fi action pictures.
  23. Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.
  24. The film is sporadically amusing but gives the impression it should be generating more laughs than it does.
  25. The best medium in which to view Countdown to Zero is on The History Channel, not in a theater.
  26. It would be nice to argue that the good outweighs the bad in The Switch, but it's a wash.
  27. The only reason Soul Kitchen is being marketed as an "art film" in the United States is because it is subtitled. On merit, this is as mainstream as one can imagine - a generic, feel-good plot that's fit for a sit-com. Call it My Big Fat Greek Restaurant.
  28. The Last Exorcism is one of those rare films where the marketing campaign is more interesting than the film it publicizes.
  29. 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.
  30. Heartbreaker isn't disappointing enough that it will cause pangs of deep regret for anyone who pays to see it in a movie theater, but it will go down more easily as a home viewing option.
  31. It is an accepted truth that adapting a sublime novel does not always result in a sublime movie. To an extent, this is the problem with Never Let Me Go.
  32. One problem is that none of the characters are interesting and the situation is clichéd.
  33. There are times when iconic characters should be left alone to bask in the glory of a single appearance and, unfortunately, that's the case with Gordon Gekko.
  34. The story as a whole seems stale and overly familiar.
  35. The strongest, most consistent performance is provided by Sam Rockwell, who displays a wide and convincing range of emotions.
  36. The craftsmanship is impeccable as is the acting, but the storytelling is where the movie falls down.
  37. The film, although deeply flawed, is at times compelling, even if it seems as if a reel is missing.
  38. Ultimately, the plot (irrespective of how faithful it is to real life) isn't the problem - it's the unevenness with which co-directors Glenn Ficarra and John Requa (both making their directorial debuts) approach it that limits the film's success and mutes the experience of sitting through it.
  39. As preposterous wannabe Hitchcockian thrillers go, this one is adequate.
  40. Grim but holds the attention; it does not, however, offer the kind of mindless action excursion that many will be anticipating.
  41. They had 28 years, and this is the best they could come up with?
  42. 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.
  43. Made in Dagenham is a useful lesson in history and a reminder that we yet have a distance to travel to attain the goal, but the narrative is dry, safe, and predictable and, as a result, not fully satisfying.
  44. There are fitful sparks between him (Kutcher) and Portman, but he is unable to sustain viewer interest in his character. She becomes the dominant figure and that throws off No Strings Attached's balance and impacts the all-important chemistry.
  45. 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.
  46. It may work for those in search of a good cry but as a story of a damaged woman to touch the soul, it misses the mark.
  47. It's refreshing to find a horror movie interested in more than slashing and gashing.
  48. Watching Battle Los Angeles is akin to observing someone else play a video game with top-notch production values. For a while, it's fun, but immersion is born of involvement.
  49. The problem with the movie isn't the acting, it's the story, which falls considerably short of the promise of its premise. For a plot about super-intelligent people, the screenplay is surprisingly dumb.
  50. Most of the humor in Your Highness is obvious, tepid, and often crude. There are some amusing one-liners but the majority of the comedy makes one realize how brilliant "Monty Python and the Holy Grail" is.
  51. Rio
    The only thing surprising about this lackluster animated production is that it attracted an A-list voice cast.
  52. Sadly, passion and romance are two ingredients missing from this melodrama, which does an excellent job of re-creating the Depression-era circus business.
  53. Satisfies on a visual and visceral level while leaving the intellectual one cold and shriveled and starving.
  54. The easiest way to summarize my reaction to X-Men: First Class is with a shrug.
  55. Although it would be unfair to label Cars 2 as unwatchable, it is surprisingly tedious in parts and not as satisfying as one might expect.
  56. Larry Crowne should not be mistaken for a masterpiece. It is summer entertainment: genial, undemanding, lightweight.
  57. The interaction between the three teenagers is well executed and plausible, despite the almost complete lack of a back story for any of them.
  58. Captain America falls into the prevalent pitfalls of origin stories. So much time and effort is expended explaining how the protagonist gains his super-powers (and exploring his initial usage of them) that there's not enough opportunity to develop a compelling storyline beyond his "baptism."
  59. Distilled to its basics, it's little more than a sit-com that has been tarted up with scenes of projectile poop, odd sexual fetishes, and knife wielding babies. It all seems a little tired and, more importantly, not as funny as it should be.
  60. 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.
  61. The unfortunate ending, which wallows in artifice, is superficial and saccharine, and unworthy of the material that precedes it.
  62. Despite having a perfect cast for a title like Killer Elite, Gary McKendry's feature debut comes across as little more than a generic Jason Statham movie with two high-profile guest stars.
  63. The action sequences are energetic and suspenseful but they don't always mesh well with the dramatic material.
  64. When the characters in Footloose are dancing and the music is blaring, the film comes alive. It has energy and personality. Would that the same could be said about the dramatic scenes, which are hamstrung by a combination of mediocre acting and atrocious dialogue.
  65. 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.
  66. 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.
  67. If there's a complaint to be made, it's that the humor could be less scattershot.
  68. Melancholia represents von Trier at his best and worst. Visually and thematically, Melancholia is a rich motion picture, full of nuances. Unfortunately, in his pursuit of an artistic vision, von Trier has thrown logic, physics, and coherence out the window.
  69. For a documentarian of Herzog's stature, Into the Abyss ranks as a disappointment.
  70. Here's hoping Breaking Dawn Part Two gives us more of what Part One provided in the final 30 minutes than what it forced viewers to endure to get there.
  71. It is fair to argue that, at least in the case of Rampart, Woody Harrelson is better than the material in which he appears.
  72. For most of the movie, Cody and Reitman jape at her until, in the last 20 minutes or so, they attempt to turn her into an object of sympathy. It doesn't work and, on balance, neither does Young Adult.
  73. Carnage suffers from a common problem that afflicts many stage-to-screen adaptations: too much artifice and contrivance.
  74. 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.
  75. The movie's point, which is impossible to miss, is that it's hard being black & gay in America and, while there's undoubtedly truth in that sentiment, it doesn't necessarily make for a compelling motion picture circa 2011.
  76. Sadly, the result is a disappointment. Sure, the aerial battles are technically adept and occasionally exhilarating, but it's almost painful to sit through some of the "drama" that occurs on the ground.
  77. On balance, Man on a Ledge is fun, but I left the theater feeling disappointed and cheated, as if the filmmakers set me up for something great they ultimately couldn't deliver.
  78. Perfect Sense offers an epic tale seen through the prism of a tiny, intimate story. It's the inverse of "Contagion," which sacrificed character to scope.
  79. This Means War is not funny enough to succeed as a comedy. It's not emotionally deft enough to succeed as a romance. And it's not exciting enough to succeed as an action film. It's a high-energy, fast-paced explosion of moments that can be edited together to make a compelling trailer.
  80. The best I can say is that I was never bored, although I was never overwhelmed, either. There are enough small things to keep it interesting even when many of the big things fail.
  81. Project X's first-person verisimilitude is the movie's primary strength and most damning weakness.
  82. The bad news is that Silent House is 88 minutes long, and the final half hour represents a descent into an anticlimax that ends with a scene as dumb as it is disappointing.
  83. 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.
  84. It feels incomplete and the ending is entirely too convenient.
  85. The result is mixed: the affable, family-friendly motion picture is lively enough to engage young viewers but will prove something of a challenge for anyone who has gone through puberty.
  86. The Hunter works best as a travelogue and a thought-piece about the ugly, shadowy side of resurrecting dead species.
  87. The Lucky One delivers what's expected from it: a heartfelt romantic melodrama with attractive actors in the lead roles; gauzy, moody photography; a saccharine score; and all the heat that a PG-13 production can muster.
  88. The Raven is period piece fun - at least until it realizes there has to be a conclusion. That's where a certain amount of inevitable disappointment sets in. The curse of the two-hour murder mystery is that the ending never seems to justify the build-up.
  89. The problem is one of tone. The Five Year Engagement, despite its serious thesis, tries desperately to be funny. Some of the comedic material provokes laughter and some doesn't, but nearly all of it feels wrong.
  90. A little youth is injected via "Slumdog Millionaire's" Dev Patel and Tena Desae, but they are supporting players. Still, as one might expect from a group of actors in this age range, the performances are impeccable. Experience does count.
  91. Hysteria's "hook" is that it chronicles the development of one of the 20th century's most popular home appliances: the vibrator. However, although the details surrounding the deplorable state of women's medicine during the Victorian era are intriguing, the central story - a romantic comedy between a progressive woman and a forward-thinking doctor - is flaccid.
  92. 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.
  93. The end result is something that feels like it was put together from a jumble of Disney clichés tacked onto the skeleton of "Beauty and the Beast."
  94. The problem with Beasts of the Southern Wild is that, like "The Tree of Life," it seeks to integrate its small, very personal story into a much larger, more ambitious tapestry.
  95. It is as comfortable and predictable as any Saturday morning cartoon, although with higher production values and a spiffier look.
  96. 360
    It is disappointing (and a little boring). The chief problem relates to structure. The film unspools more like a puzzle than a cohesive narrative.
  97. 2 Days in New York splits its time between being a quirky comedy and a quasi-serious drama. Comparisons with Woody Allen may be inevitable, in part because of the setting, although none of the characters in this film are neurotic enough to match vintage Allen.
  98. 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.
  99. On the whole, The Expendables 2 is more satisfying than "The Expendables."
  100. Where About Cherry fails is in its depiction of interpersonal relationships. Nearly all of them are flat and uninspired.

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