ReelViews' Scores

  • Movies
For 3,166 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 It's a Wonderful Life
Lowest review score: 0 Bachelorette
Score distribution:
3166 movie reviews
  1. This combination of storytelling, singing, and corny comedy is sometimes a little too slow and long-winded for its own good, but at least the aftertaste isn't bitter.
  2. The movie's musical sequences, which primarily feature popularized versions of gospel standards, are exhilarating and energetic. Unfortunately, that's only half the story, because the so-called dramatic material, which links together all the musical numbers, is mind-numbingly bad.
  3. The final half-hour contains enough contrivances and holes to challenge even the most generous movie-goer's suspension of disbelief.
  4. 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.
  5. Petersen ratchets the tension up to a level where the viewer is likely to forget the imbecilic plot contrivances that have gotten the situation to this point, and just enjoy the action and adventure.
  6. The result is an action-oriented survival tale, not unlike the kind of movie that Stallone or Schwarzenegger might have made back in the '80s.
  7. This movie is a vast improvement over the tired and uninspired "American Pie 2," although it fails to make it to the lofty perch occupied by the first film.
  8. One problem with Repo Men is that there's not enough material to sustain a 111-minute motion picture.
  9. 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.
  10. Technically, it's superbly made; dramatically, it fails to achieve escape velocity.
  11. 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.
  12. Won't win points for originality, but the screenplay includes some snappy dialogue, smart observations, and an uplifting message about the importance of friendship.
  13. The movie's anti-climatic resolution in concert with the holes left by the occasionally untidy script result in The Lookout not living up to its promise. Compared to some of Frank's past projects, this is a tepid offering.
  14. One problem is that none of the characters are interesting and the situation is clichéd.
  15. The film is by no means perfect and its goals are undermined by a sloppy climax and conclusion but it avoids preaching while providing fodder for thought.
  16. Dumb, juvenile comedy has its place when it's funny. Unfortunately, too often in Get Hard, it's not.
  17. Ultimately, Bad Education must be considered to be a minor effort from a major director.
  18. Rarely does The Man with the Golden Gun take anything seriously. Mary Goodnight is as clumsy as they come. Pepper and Nick Nack are cartoonish. There are more jokes-per-minute than in any other Bond film. Even John Barry's score is less earnest than usual, and the opening song is ridiculous.
  19. Whiskey Tango Foxtrot has surprisingly dull fangs.
  20. It is fair to argue that, at least in the case of Rampart, Woody Harrelson is better than the material in which he appears.
  21. As a movie, The Hoax isn't a fraud but it's not the real deal, either.
  22. It's an adequate superhero yarn, but, hopefully, it's not the best of the burgeoning genre that 2003 has to offer.
  23. This is a lackluster film that exists exclusively because its predecessor made money.
  24. The film is worth seeing for the humor and for its high level of energy, but it falls short of being the "complete package." It's probably a better pick for home viewing than a trip to a theater.
  25. There's nothing especially wrong with Nim's Island, but there's not a lot right about it either.
  26. A fair amount of the film, especially Downey's solo sequences, appears to have been improvised, and this lends an air of unpredictability to the proceedings.
  27. The Saint is more of a character-based thriller than a strict stunts-and-explosions film, which is a good thing because the action sequences are mostly flat and obligatory. Even when he generates a degree of tension, director Phillip Noyce (Patriot Games, Clear and Present Danger) is unable to sustain it, and the disappointing ending is not only long and drawn out, but lacks a sense of closure.
  28. Go to this movie for the cheap laughs and bodily fluid jokes -- those are its strengths.
  29. Too often, Boynton Beach Club feels like a made-for-TV movie with a little sex, nudity, and profanity thrown in to spice things up.
  30. The action sequences were often nail-biters, the lead characters were well-developed, and the dialogue was intelligent.
  31. By playing it safe, One Last Thing offers tearful interludes but not a lot more.
  32. Like fruitcake, movies like this are ubiquitous at this time of the year but rarely are they devoured with great relish or enthusiasm.
  33. The images in The Good Lie have the power to disturb but lack the gut-punch impact necessary to give us an immediate and lasting connection to the protagonists.
  34. A rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.
  35. Once Batman v Superman hits its stride, most viewers will feel equal parts pummeled and immersed. Snyder is a master of the dark spectacle and he pours it on starting around the movie’s midpoint.... Still, although viewers may be riveted at times, the net experience isn’t much fun.
  36. Baumbach is 45 (roughly the same age as Josh) so he writes from personal experience. He knows what these characters are feeling which is the reason why the human elements resonate with authenticity - a quality that fades when While We're Young wanders off on the tangent about what constitutes a legitimate documentary.
  37. 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.
  38. This is a Beauty & the Beast romance between Nicole Kidman and Chewbacca.
  39. For all its faults, Gracie is made with enough grace to get us rooting for the protagonist.
  40. Almodovar's central parody is strong enough to save this film from floundering too much or too often. It's daring and nasty, but rarely brilliant.
  41. If you're tired of routine, "feel good", Hollywood fare and are looking for something a little Tarantino-ish and a lot unusual, Feeling Minnesota will leave you feeling pleasantly surprised.
  42. Armageddon is a testosterone and adrenaline cocktail, with almost no intelligence added for flavoring.
  43. Heaven's tone is all wrong. The movie tries to be ethereal, but ends up seeming goofy.
  44. Mockingjay Part 1, released a year ago, was a disjointed, incomplete affair and, although Mockingjay Part 2 is more polished, the pace is uneven and there’s a sense that the series has hung around too long.
  45. Predictable this isn't, but that can be seen as both an asset and a detriment.
  46. In fact, there are times when this movie feels like the latest installment in the over-milked Home Alone saga.
  47. What's sad is that Elizabethtown contains two GREAT sequences.
  48. The interaction between the three teenagers is well executed and plausible, despite the almost complete lack of a back story for any of them.
  49. A few months from now, no one will remember it, but Homefront isn't made for the long-haul. It's assembled simply for the 100 minutes when the viewer is in theater and, on a certain level, that's sufficient.
  50. This is another movie where politics trump the narrative.
  51. It's a sincere-yet-uninspired diversion, and not even two strong performances can elevate it to a higher level.
  52. Cronos is more concerned with ideas and atmosphere than people.
  53. 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.
  54. Carnage suffers from a common problem that afflicts many stage-to-screen adaptations: too much artifice and contrivance.
  55. “Dumbing down” was coined for productions like this: big, splashy, testosterone-fueled monstrosities whose sole purpose is to give a studio box office bragging rights for a few weeks.
  56. In all fairness to the film, it is superior to the disappointing second movie in the series. The comedy is about as low-brow as it can get (at least without treading into R-rated territory).
  57. 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.
  58. H20 is the second-best entry into the series, and, although it's nowhere close to the level established by Carpenter's classic, it avoids the excesses that ruin many would-be horror movies.
  59. There are enough similarities between the movie and "Pride and Prejudice" that one could be forgiven thinking this screenplay is Austen lite.
  60. The weakest aspect of The Lucky Ones is by far the conclusion, which is flat and contrived.
  61. The film stays true to its unpretentious origins -- it's like a comic book come to life, with an undeniable visual flair, a lot of kinetic action sequences, minimal character development, and a plot that could charitably be called "uneven".
  62. Chasing Liberty is not daring or adventurous, but, considering its release date (early January), it's more palatable than one might anticipate.
  63. The Clearing is being positioned as "adult counter-programming" for the summer season, but the benefits of seeing this movie may not be worth the patience necessary to get through it.
  64. 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."
  65. The movie is pretty to look at in a "Transformers" sort of way and moves briskly enough that it never threatens to bore, but it's hard to feel much of anything about the characters and, when it's all over, there's a sense that everything that happens is obligatory.
  66. The film delivers with enough consistency to warrant a qualified recommendation for those seeking a few extra scares at this time of the year.
  67. 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.
  68. A family film (albeit a mediocre one).
  69. It's refreshing to find a horror movie interested in more than slashing and gashing.
  70. Imagine Me & You isn't unpleasant, but it is unremarkable. If nothing else, it proves that gay romances can be just as uninspired as their heterosexual counterparts.
  71. As a comedy, The Mask is genial, but its recycled plot is far too thin for the film to succeed as either an adventure or a spoof.
  72. The Overnight plays like the pilot of a sitcom developed for Netflix or premium cable. A hit-and-miss affair that deals in a sporadically amusing fashion with many of the mundane (and a few not-so-mundane) tribulations of long-term monogamy in marriage.
  73. If ever there was a movie more destined to become a cult phenomenon, I don't know if I can name it.
  74. Interview has its moments but they can't prevent it from feeling a little long winded and unsatisfying.
  75. Towards the end, Murder By Numbers reverts to form with cheesy clichés, plot twists, and a fair amount of unnecessary action, but that's easily the film's low point.
  76. It’s a strange little movie - by turns fascinating and frustrating. Its strong thematic thrust is counterbalanced by an uneven and at times farcical narrative and the characters are more avatars than well-realized individuals.
  77. 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.
  78. The Day After Tomorrow is filled with bad dialogue, stock peril situations, and sketchy character development, but it's a big enough spectacle that those things don't completely derail the film's capacity to be enjoyed.
  79. Even though Moore sleepwalks his way through the part, making it apparent that he should have departed two films ago, and Tanya Roberts can't act to save her life (although she certainly can scream), we're back to a more conventional, straightforward Bond than the convoluted mess of the previous movie.
  80. The most interesting personality in Ed Wood is not the title character, but Bela Lugosi. So covered up with makeup that he's barely recognizable, Martin Landau gives a deeply-felt performance -- a eerie and stunning recreation of a man haunted by lost fame.
  81. The essential problem with the movie isn't that it's loud, violent, and gory, but that, before Carpenter ratchets up the tension in the final 35 minutes, it's not especially interesting.
  82. 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.
  83. More of a pretender than a contender in a field that includes superior entries like "Reservoir Dogs" and "The Usual Suspects."
  84. Tone isn't the movie's sole problem. There's something off-putting about Christopher Mitz-Plasse as the chief bad guy.
  85. 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.
  86. The movie is never boring or uninteresting, but I viewed it from a detached perspective, unable to become involved because I didn't really care about any of the three main characters.
  87. The Host is a strange little movie: part creature feature, part social commentary, and part slapstick comedy. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.
  88. The movie hits its stride when it deals directly with the concert. The more peripheral Elliot is to the story, the better things become.
  89. As much heralded, "edgy" movies go, Transamerica fails to live up to expectations.
  90. The limp climax doesn't undo the solid humor, wicked social commentary, and delicious satire that precedes it, but it leaves an unpleasant aftertaste. In the end, Mean Girls isn't mean enough.
  91. In fact, the title of this motion picture is quite apt -- Mimic does an excellent job of imitating not only Aliens, but several other science fiction and horror features, including such odd choices as Leviathan and The Thing. The derivative result is, as one might expect, moderately entertaining, but far from groundbreaking in its approach or execution.
  92. 8MM
    The result, while not entirely devoid of entertainment value, doesn't work as a whole.
  93. Affable, but, as something with more ambition, it disappoints. Herek has once again found the feel-good path to mediocrity.
  94. Some of Poetic Justice is quite good, if unspectacular, and the dialogue has a consistent ring of truth.
  95. The weaknesses of Beautiful Creatures ultimately outweigh the strengths but the conviction of the central relationship is good enough to keep things from becoming laughably bad, even if it all comes apart toward the end.
  96. 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.
  97. It's an epic pretender, not an epic contender.
  98. Rio
    The only thing surprising about this lackluster animated production is that it attracted an A-list voice cast.
  99. Levy and Jackson save the day, and the film. The Man isn't great entertainment, but it contains enough laughter-provoking material to make it worth a look.
  100. This movie seems better suited as cable or video fare than for theatrical viewing.

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