ReelViews' Scores

  • Movies
For 3,378 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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Score distribution:
3378 movie reviews
  1. Guilt Trip is cinematic comfort food for road trip fans who aren't given indigestion by Streisand.
  2. The movie is still incredibly silly but in a more boisterous way, like a comic book come to life.
  3. To an extent, Snakes on a Plane reminds me of "Eight Legged Freaks." It has the same kind of off-the-wall, don't-take-it-seriously comedic horror sensibility.
  4. The final 15 minutes are so awful that it's difficult to believe that the bulk of the film is actually decent.
  5. By-the-numbers, generic plots no longer work and that, unfortunately, is what Seventh Son delivers. Impressive set design and visuals, excessive CGI, and a loud score from Marco Beltrami can't fully compensate for bland character development and a predictable narrative that rushes along on a linear trajectory.
  6. 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...."
  7. The story is overly familiar and the characters are all types, but Cohen's cinematic techniques make The Fast and the Furious watchable.
  8. Director Guillermo del Toro’s unique visual style is on display but the story is predictable, the characters are flat, and the supernatural elements are red herrings. To paraphrase a character, this isn’t so much a ghost story as it is a “story with ghosts.”
  9. The last 60 minutes offer adventure as rousing as anything provided in either of the previous installments. Unfortunately, that doesn't account for the other 108 minutes of this gorged, self-indulgent, and uneven production.
  10. Sadly, passion and romance are two ingredients missing from this melodrama, which does an excellent job of re-creating the Depression-era circus business.
  11. Unfortunately, it's almost impossible to make it through the entirety of Ant-Man's two hours without thinking of "Honey, I Shrunk the Kids" as least once, and I'm not sure that's an association the filmmakers were courting.
  12. The star and the more overwrought aspects of the plot are mainstream but the philosophical implications will not appeal to those who prefer easily digestible cinematic portions. It's also true that the more deeply one considers the movie's themes and structure, the less sense it makes.
  13. One of those plot-by-numbers sit-com movies that tries hard (perhaps too hard) to reproduce the elements that made the earlier film successful.
  14. One of the great frustrations associated with Fast Food Nation is the way it drops subplots.
  15. 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.
  16. A Single Man tells us about love, isolation, and sorrow, but never makes us feel any of those things.
  17. The one thing that never falters during the course of the film is Jude Law's volcanic performance. Reminiscent of Tom Hardy's turn in Bronson, this is the kind of portrayal that garners notice and raves.
  18. Those who have learned to enjoy the duo on MTV (for whatever reason) will welcome this as a holiday treat. Everyone else will have a better time if they stay away.
  19. The film has too much surface beauty not to earn it a recommendation, but Days of Heaven satisfies only on a sensory level.
  20. Although the satire is biting and the tone is irreverent, Drop Dead Gorgeous lacks the killer script and top notch performances necessary to make this a wholly successful production.
  21. It's the Judd Apatow syndrome and there are times when the blend of romance and raunchiness threatens to curdle. In the end, however, the "love conquers all" mentality wins out.
  22. The easiest way to summarize my reaction to X-Men: First Class is with a shrug.
  23. Filmed in black-and-white with an eerie score by Neil Young, and using contemporary dialogue and mannerisms, Jarmusch's picture has a dream-like quality.
  24. The problem with this movie is that Wallace has attempted to squeeze a 500-page book into a 130-minute motion picture, something that can't be done without major sacrifices.
  25. Marking the directorial debut of Andy Serkis, it’s competently made but not exceptional.
  26. It's not startling or frightening enough.
  27. This balls-to-the-walls action/adventure makes the average James Bond film look like something by Eric Rohmer. It’s high rent Steven Segal - fights, explosions, and more fights, but with a flair.
  28. An "intelligent" action film, because it presents the viewer with an opportunity to puzzle things out rather than sit mindlessly and watch people get blown to pieces.
  29. Unfortunately, the material doesn't justify the talent. These women deserve more than Calendar Girls ultimately gives them.
  30. On the whole, The Expendables 2 is more satisfying than "The Expendables."
  31. If you go to Eight Legged Freaks expecting anything but a campy, cheesy romp, then you have wandered into the wrong theater. This movie is for those who like smart (often self-referential) humor and cheap thrills.
  32. A Walk in the Woods is surprisingly funny at times but, like many comedies, it runs out of steam about halfway through.
  33. There are times when Troy is stirring and engaging. However, at least as often, it is flat.
  34. It's the kind of film that will resonate only with a tiny fraction of the available audience. Unless a viewer's age and situation mirrors that of Posey's Nora Wilder, odds are that this movie will generate a sense of déjà vu.
  35. 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.
  36. The result, regardless of how it was arrived at, is gutless.
  37. This is yet another chapter in “When Smart Movies Turn Dumb.”
  38. Spy
    The problem is that writer/director Paul Feig became too enamored with his storyline which, at best, could be described as a lame James Bond parody.
  39. 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.
  40. 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.
  41. The final half-hour contains enough contrivances and holes to challenge even the most generous movie-goer's suspension of disbelief.
  42. 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.
  43. 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.
  44. 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.
  45. 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.
  46. One problem with Repo Men is that there's not enough material to sustain a 111-minute motion picture.
  47. 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.
  48. Technically, it's superbly made; dramatically, it fails to achieve escape velocity.
  49. 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.
  50. Won't win points for originality, but the screenplay includes some snappy dialogue, smart observations, and an uplifting message about the importance of friendship.
  51. 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.
  52. One problem is that none of the characters are interesting and the situation is clichéd.
  53. 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.
  54. Dumb, juvenile comedy has its place when it's funny. Unfortunately, too often in Get Hard, it's not.
  55. Ultimately, Bad Education must be considered to be a minor effort from a major director.
  56. 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.
  57. Whiskey Tango Foxtrot has surprisingly dull fangs.
  58. It is fair to argue that, at least in the case of Rampart, Woody Harrelson is better than the material in which he appears.
  59. As a movie, The Hoax isn't a fraud but it's not the real deal, either.
  60. It's an adequate superhero yarn, but, hopefully, it's not the best of the burgeoning genre that 2003 has to offer.
  61. This is a lackluster film that exists exclusively because its predecessor made money.
  62. 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.
  63. There's nothing especially wrong with Nim's Island, but there's not a lot right about it either.
  64. 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.
  65. 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.
  66. Go to this movie for the cheap laughs and bodily fluid jokes -- those are its strengths.
  67. 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.
  68. The action sequences were often nail-biters, the lead characters were well-developed, and the dialogue was intelligent.
  69. By playing it safe, One Last Thing offers tearful interludes but not a lot more.
  70. Like fruitcake, movies like this are ubiquitous at this time of the year but rarely are they devoured with great relish or enthusiasm.
  71. 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.
  72. A rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.
  73. 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.
  74. There are good reasons to see Tully. Theron’s performance is high on the list, as is that of Mackenzie Davis. The first 30 minutes are uncommonly good, which may be why the spike of disappointment is so acute when the film fails to maintain that level for its entire length.
  75. 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.
  76. 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.
  77. This is a Beauty & the Beast romance between Nicole Kidman and Chewbacca.
  78. For all its faults, Gracie is made with enough grace to get us rooting for the protagonist.
  79. 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.
  80. 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.
  81. Armageddon is a testosterone and adrenaline cocktail, with almost no intelligence added for flavoring.
  82. Heaven's tone is all wrong. The movie tries to be ethereal, but ends up seeming goofy.
  83. 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.
  84. Predictable this isn't, but that can be seen as both an asset and a detriment.
  85. In fact, there are times when this movie feels like the latest installment in the over-milked Home Alone saga.
  86. What's sad is that Elizabethtown contains two GREAT sequences.
  87. The interaction between the three teenagers is well executed and plausible, despite the almost complete lack of a back story for any of them.
  88. 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.
  89. This is another movie where politics trump the narrative.
  90. It's a sincere-yet-uninspired diversion, and not even two strong performances can elevate it to a higher level.
  91. Cronos is more concerned with ideas and atmosphere than people.
  92. 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.
  93. Carnage suffers from a common problem that afflicts many stage-to-screen adaptations: too much artifice and contrivance.
  94. “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.
  95. 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).
  96. 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.
  97. 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.
  98. There are enough similarities between the movie and "Pride and Prejudice" that one could be forgiven thinking this screenplay is Austen lite.
  99. The weakest aspect of The Lucky Ones is by far the conclusion, which is flat and contrived.
  100. 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".

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