ReelViews' Scores

  • Movies
For 3,290 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
Highest review score: 100 Looper
Lowest review score: 0 Captivity
Score distribution:
3290 movie reviews
  1. 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.
  2. The best medium in which to view Countdown to Zero is on The History Channel, not in a theater.
  3. If all it took was verisimilitude and atmosphere to define a movie, The Witch would earn a near-perfect rating. Unfortunately, despite a creepily effective setting and authentic setup, the movie suffers as a result of a frustratingly uneven screenplay.
  4. 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.
  5. 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.
  6. Like its main character, the production rarely seems ready for prime time.
  7. While the Peter Parker stuff is enjoyable, that’s only part of what the movie is giving us. Every time Peter puts on the Spidey suit, we know exactly what we’re going to get, beat-by-beat.
  8. 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.
  9. While this sort of film has its share of pleasures, it runs out of steam long before the end credits arrive. At some point just past the middle, it goes on autopilot. The glimpses of cleverness become less frequent and the movie seems more interested in upping the body count than advancing the (admittedly thin) story.
  10. P2
    P2 doesn't crash and burn, but its finale is more generic than what the effective first hour leads us to hope for.
  11. Race, like "42," does a workmanlike job of bringing the lead character to life and explaining his historical importance, but it fails to transcend the genre.
  12. 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.
  13. As YA romances go – and there are plenty to choose from – this is a lesser option.
  14. 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.
  15. 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.
  16. Wonderstruck is an evocative movie with a vaguely disappointing narrative that, although it reaches a conclusion, doesn’t justify the patience viewers must exhibit to reach that point
  17. 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.
  18. 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.
  19. 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.
  20. An example of a vampire movie for the new century -- stylish, gothic, gory, and loud.
  21. 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.
  22. 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.
  23. 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."
  24. 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.
  25. This is a mixed bag - passable entertainment made palatable largely by Law, but the question of "Why?" (more than "What's it all about?") still lingers where this remake is concerned.
  26. On a purely visual level, Valerian and the City of a Thousand Planets deserves mention among the most technically accomplished works of those three. But as a complete motion picture experience, it falls considerably short.
  27. The musical sequences throb with energy and this allows We Are Your Friends to maintain its trajectory when its momentum flags.
  28. The movie is entertaining on a superficial level, but there's little beneath the surface.
  29. One of the great unanswered questions in Hollywood is how Chevy Chase still gets work. Although his appeal is not as incomprehensible as that of, say, Pauly Shore, it's not obvious, either; "range" is one word no one will ever use in conjunction with Chase's acting ability.
  30. Kristen Bell shines as Veronica, playing the character as a more mature version of her TV persona.
  31. Escape from New York isn't really science fiction -- it's an action flick set in a futuristic setting. Epic potential for a masterful, gripping tale is abandoned in favor of cheap thrills.
  32. Instead of focusing on FDR as a president, this movie gives up half its length to tawdry soap opera.
  33. Despite its many strengths, Thank You for Smoking hovers around mediocrity, and its lasting impression is like a puff of smoke that is dissipated by a strong gust of wind.
  34. Sure, the viewer who wants to see a tightly-paced thriller with gun-play and emotionally-satisfying moments won't be disappointed, but there is a little more here than simple escapism. Although it takes a number of wrong turns, Falling Down still has the power to disturb.
  35. While Caché offers food for thought, the last third is muddled.
  36. 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.
  37. It ends up feeling a little like warmed-over "Strictly Ballroom" without Baz Lurhmann's over-the-top sense of style.
  38. 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."
  39. The cinematic equivalent of cotton candy: certainly not unpleasant, but not especially satisfying despite the sweet taste.
  40. The arrival of the uncut Godzilla is a great boon to monster movie fans, but will have limited appeal to others.
  41. Director/co-writer Gillian Robespierre is nowhere near as self-indulgent as Noah Baumbach but she’s aiming for the same audience.
  42. The key term here is "fairy tale," because, although the movie occasionally tries for dramatic moments, they're overplayed, undercooked, and divorced from reality.
  43. 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.
  44. Bland and forgettable - a romantic comedy with affable characters and some funny lines, but where love never really takes flight. It fizzles when it should sizzle.
  45. There's probably enough content here to warrant a three-hour movie but Good People is only 90 minutes long.
  46. 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.
  47. I enjoyed The Osiris Child enough that, when it stopped with the complete story half-told, I felt a flash of irritation. For that reason, until more is made (if more is made – a prospect that seems questionable at best), I can’t really recommend The Osiris Child.
  48. It's often diverting and occasionally funny, but it's ultimately inconsequential.
  49. Into the Woods left me out in the cold. The long-gestating cinematic adaptation of Stephen Sondheim's fairy tale-infused Broadway musical, Into the Woods can claim a clever screenplay and a few enjoyable performances but little else.
  50. 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.
  51. Enjoyable, but it's a shallow enjoyment.
  52. Booty Call isn't a source of nonstop laughs, and there are a lot of gags that fall flat, but, on those sporadic occasions when something works, the result can be hilarious.
  53. The most important part of any thriller - even one as upper crust as this - is the resolution, and that's where Notes on a Scandal falls on its face. The ending itself isn't bad but the single act leading to it is unforgivable.
  54. 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.
  55. Despite being sold and marketed as a thriller, the most interesting aspects of Shot Caller are the dramatic ones.
  56. Despite rave reviews, film festival awards, and an Oscar nomination, Spellbound comes across as little more than a marginally compelling documentary -– the kind of movie that would be at home on PBS.
  57. 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.
  58. Temple shows a better path for horror films to follow but the screenplay is too threadbare and the characters too poorly developed for it to really work. This is about 2/3 of a solid effort – unfortunately, the other 1/3 was never made.
  59. It's an awkward technique that outlived its usefulness more than four decades ago. I like the movie, but hate its presentation.
  60. This is a beautifully shot motion picture, and there's no doubt that the lush scenery upstages the actors.
  61. The most enjoyable parts of The Secret Life of Walter Mitty are his fantasies, such as one in which he stands up to his boss in a way he never would in real life.
  62. 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.
  63. Take away the performances, and all that would be left is a cheapish B-grade motion picture.
  64. The film's dramatic underpinning and the way it addresses impending empty nest syndrome are solid but the comedy varies from mildly amusing to achingly awful.
  65. A movie that is relentlessly inoffensive and completely unoriginal –- two qualities that combine to make it only sporadically charming and rarely (if ever) compelling.
  66. The movie, which features numerous dead-end side-stories and glaring plot holes, is short on narrative and long on allegory.
  67. I appreciate that Ponsoldt doesn't go for cheap tears through over-sentimentality, but his detached, low-key approach distances viewers from the characters. I watched the drama unfold from afar but was never involved on an emotional level.
  68. The film's notable quality is the music and as soon as one song is finished, we're ready for the next one. Unfortunately, there are often long passages of dialogue and narrative to endure before getting there.
  69. 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.
  70. 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.
  71. Whatever the reason, the characters often seem only half-formed and there's a strange artificiality about the entire endeavor. Egoyan has never been a realist, and his style has contributed to his ability to deliver a knockout punch. Here, that punch is missing.
  72. 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.
  73. In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.
  74. It is not as engaging as "The Royal Tenenbaums," but about on par with "Rushmore" and "Bottle Rocket."
  75. Joe Klein's novel -- is a cynical satire of life on the campaign trail. It's harsh, blistering, and possesses an edge that the film, a warmhearted comedy/drama, lacks.
  76. Mixed together, all of this makes for a fascinating viewing experience, but the unfortunate ending diluted my enthusiasm for the film as a whole.
  77. Overwrought and disjointed, Ewan McGregor’s directorial debut is surprisingly faithful to aspects of the text but the overall presentation is conventional and disappointing.
  78. 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.
  79. 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.
  80. In general, parodies may not rely overmuch on plot, but they need more in this department than Death to Smoochy possesses.
  81. 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.
  82. There's no shortage of material on the screen in Bee Season - it's just not assembled in a satisfying manner.
  83. It would be nice to argue that the good outweighs the bad in The Switch, but it's a wash.
  84. Notting Hill does an adequate job, but this isn't one of those landmark romantic comedies that dozens of subsequent movies will seek to emulate.
  85. It appears that Marvel has given up trying to broaden the tent. Although Thor: Ragnarok, the third film to focus on the exploits of the titular Norse God, boasts a lighter tone, when the flippancy is stripped away, it’s the same-ole-same-ole.
  86. The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative.
  87. Admittedly, mediocre Sayles is still watchable, but, relative to expectations, Casa de los Babys is a disappointment of significant proportions.
  88. Ghost in the Shell is visually compelling but tone deaf.
  89. 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.
  90. Calling The Angry Birds Movie an “animated film” is giving it airs. It’s a cartoon. Deal with it.
  91. 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.
  92. The tone is lighthearted and the performances are effective but, in the end, the feature is so inconsequential as to leave no lasting impression.
  93. 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.
  94. If nothing else, Unfriended does an excellent job portraying the frenzy that is on-line teen interaction. This is the new equivalent of "hanging out."
  95. 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.
  96. In the end, it's the self-mocking aura that save this film from being a waste of two hours.
  97. It packs in a few scary moments and offers a nicely ambiguous conclusion. In Silent Hill, atmosphere trumps storyline.
  98. If you're a fan of James Brown's oeuvre, the film will keep you interested. If you're not, Get on Up will quickly become tedious and will wear out its welcome long before the end of its 133-minute run.
  99. It wants to be funny, charming, scary, and dramatic. It ends up being a little of each but not successful as any one.
  100. 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.

Top Trailers