ReelViews' Scores

  • Movies
For 2,764 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 Inglourious Basterds
Lowest review score: 0 Captivity
Score distribution:
2,764 movie reviews
  1. Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.
  2. Four Christmases is waste of time and a disappointment, but it's also relatively painless.
  3. This is essentially a Steven Seagal movie without the Ponytailed One, and may appeal to those who enjoyed Seagal's rather bland, cookie-cutter action films.
  4. It lacks the simple elegance and intelligence of the earlier film, and employs special effects and pointless action scenes to replace passages of dialogue.
  5. Che
    What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.
  6. This is a rare time when young ones will get more out of a Sandler movie than their parents, who may have grown up with him when he was on "Saturday Night Live."
  7. Viggo Mortensen looks the part but never brings it home with great conviction or passion. I never believed in the character and that greatly diminished the film's ability to argue its ethical case.
  8. The first film was significantly better and, therefore, is the place to start for anyone with a modicum of interest. Underworld: Rise of the Lycans is an also-ran that is likely to be appreciated only by completists.
  9. This is not a story that cries out to be remade every 15-20 years. And, while the special effects and acting are getting better, the story isn't.
  10. The best bits in this film fall short of being inspired, but they are outrageous.
  11. The end result, while it provides moments of kinetic entertainment, is too repetitive and uneven to be satisfying.
  12. Science fiction fans will feel gypped, disaster movie fans will appreciate about 10 minutes of screen time and be bored by the rest, and no one else will care.
  13. Perhaps the thing that most surprised me is how fingernails-on-blackboard awful the music is.
  14. Chock full of high-tech action, with a lot of chasing and shooting and explosions.
  15. The movie doesn't come close to the family-friendly comedic pseudo-incest flirted with in "Back to the Future." That, apparently, is deemed too unsettling for today's audiences. So 17 Again none-too-cleverly tap dances around these issues.
  16. While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.
  17. A standard-order romantic comedy with many of the expected twists and complications. It suffers from the flaw of not giving the lead characters enough time together.
  18. There's a sense that a much better movie is trying to get out but it never attains escape velocity.
  19. Never representative of more than mediocrity from a technical or story-based standpoint, the Ice Age series has reached a new nadir with its third entry.
  20. It's harmless. And pointless. And dumb. This is a perfect example of a motion picture that exists exclusively because its predecessor made a lot of money.
  21. It's not so much a bad movie as it is a pointless one.
  22. Words cannot express how weary I am of watching lifeless, hollow movies like My Life in Ruins - generic romantic comedies that have no clue when it comes to either "romance" or "comedy."
  23. A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.
  24. Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.
  25. The Proposal follows a paint-by-numbers script, it fails one key acid test: it doesn't sell the romance.
  26. Post Grad isn't funny, surprising, or insightful enough to provoke more than a ho-hum reaction. It's not bad in the way that many failed comedies are bad; it's simply uninspired.
  27. The end product feels trite and unfinished, with the romantic plot being awkwardly and unconvincingly shoehorned into a production that lacks focus.
  28. The storyline is all over the place, with numerous unresolved subplots sprouting out of thin air and being left hanging (presumably to be resolved in future movies).
  29. At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.
  30. A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.
  31. The story told by Jackson's The Lovely Bones is the same as the one related by Sebold, but it lacks the complexity and empathy evident in the book.
  32. The result is not entirely uninteresting, but it suffers from some ill-advised decisions. In fact, the film's "hook" may be its greatest detraction.
  33. The biggest problem with Law Abiding Citizen, however, is that the plot is just plain dumb.
  34. Considering the talent involved and the strength of the source material, there's no way Edge of Darkness should have been this disappointing. Part of the problem is a direct result of condensation - there's no way to cram six hours of the dense mini-series upon which the movie is based into about 110 minutes without paying a penalty.
  35. The root problem with The Wolfman is that it's a hybrid.
  36. We believe the dislike at the onset but not the romance at the payoff. And that's a major flaw.
  37. Wonderful World feels like a modern-day half-baked riff on Charles Dickens' "A Christmas Carol."
  38. The most intriguing aspects of Extraordinary Measures relate to the behind-the-scenes politicking that goes on to keep the drug development on track, although the screenplay cheats toward the end (presumably because of time constraints and a concern that too much detail might bore audiences).
  39. The appeal is there for those who crave formulaic romantic drama, but there's little of interest for a wider audience.
  40. The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.
  41. Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.
  42. There's more contrived melodrama in these two hours than romance fans could reasonably hope for.
  43. A lot of what's intended to be funny falls flat, in part because it's too obvious and in part because director Steve Pink is clumsy when it comes to comedic timing.
  44. What a waste of a talented cast! There are times when it can be depressing to see so much acting potential wasted on a script unable to elicit the best from its stars, and this is one such occasion.
  45. This is the film to watch when pretty much everything else has been sold out and the only remaining choices are The Back-Up Plan and the latest Rob Schneider opus.
  46. The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.
  47. Never boring. It is, however, frustrating.
  48. There's little here that's new or interesting; the movie is for hard-core Romero devotees only.
  49. The movie isn't so much bad as it is formulaic and uninspired. In some ways, that might almost be a worse sin.
  50. Relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.
  51. In the final analysis, The Expendables is little more than an ordinary, uninspired action feature.
  52. The clumsy and obvious byproduct of the financial success of its predecessor last Halloween, this movie has no reason for existing except to provide Paramount Pictures with a few extra shekels.
  53. A dull, meandering storyline and visuals all-but destroyed by a second-rate 3-D conversion make this movie inferior to its predecessors.
  54. A small group of viewers will find in Burlesque a gem to treasure for years to come. It's a bad movie lover's wet dream. For the average multiplex stalker, however, it exists somewhere between inconsequential and a waste of time, so that's where I'll peg it.
  55. Not without humor, but it lacks the explosive spontaneity of "The Hangover."
  56. Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.
  57. The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.
  58. Even as a mindless diversion, it's weak.
  59. Yes, Unknown is preposterous. That in and of itself is not a reason to avoid the movie. The problems lie in the way the absurdity is presented and the manner in which the screenplay resolves once the "truth" is revealed.
  60. Beastly was made with tween girls in mind. It's the kind of love story a viewer can believe in when she is indiscriminating enough to ignore bad acting, bad writing, and mediocre filmmaking.
  61. At least the werewolves in Red Riding Hood have teeth and, when in human form, they don't parade around shirtless.
  62. It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie.
  63. Scream 4 is so obsessed with the self-referential element that made the original Scream unique that it loses the capacity to be genuinely scary or funny.
  64. Overlong and at times tedious; the taste is gritty and lingers unpleasantly.
  65. Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.
  66. As a movie, On Stranger Tides would have to be considered a failure. The story does not engage, the characters are stick figures, the action sequences are perfunctory, and the whole enterprise reeks of being a money-grab.
  67. The result makes the movie seem assembled from bits and pieces of other superhero yarns rather than existing on a plane of its own.
  68. The product is akin to a mediocre '80s sex comedy (with minimal nudity) and "daring" is a descriptor only the most naïve and puritanical would employ.
  69. Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."
  70. It's tame and rather bland, and the laughter it generates is half-hearted. Director Jesse Peretz commits the unpardonable sin of wasting the considerable comedic talent of Paul Rudd.
  71. There is a perverse enjoyment to be had from something this cheesy, although not enough of one that I can recommend sitting through it. Still, as bad as Creature is, it can be fun, although the level of enjoyment is probably in direct proportion to the viewer's level of intoxication.
  72. 70 minutes into the 90-minute process, I was engaged. Then it all collapsed.
  73. The scares (if you want to call them that) are still there - one "boo!" moment after another, strung together like a breadcrumb trail through a labyrinth. So if that's all you want from a Halloween release like Paranormal Activity 3, you are the perfect audience member.
  74. There are times when the story behind the making of a film is more interesting than the finished product. This is one of those occasions.
  75. Sleeping Beauty is one of those self-consciously artsy motion picture that promises more than it delivers.
  76. The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.
  77. The Sitter is sort of an "Adventures in Babysitting" with a potty mouth.
  78. The most disappointing aspect of The Iron Lady is that some of the most memorable hallmarks of Thatcher's time in power are glossed over.
  79. Contraband is the kind of thriller that offers just enough in the way of effective elements to assemble a two-minute trailer. When it comes to a 110-minute feature, however, the sketchiness of the plotting and the director's lack of sure-handedness sink the project.
  80. The pacing is uneven, the frenetic action is rarely suspenseful, the dialogue is neither witty nor intelligent, and the anticlimactic endgame drags out to an improbable conclusion.
  81. Okay, Wanderlust has its moments. It's sporadically funny - funny enough to deliver a good laugh or two. The problem is, it doesn't do more than that, and the comedy is inconsistent.
  82. Ultimately, as things develop, this becomes less about revenge than it does about escaping a set-up. A successful production of this sort needs to constantly elevate the stakes as it builds suspense. Seeking Justice fails and that failure makes it a dubious movie-going choice best suited to the low expectations of a video release.
  83. The inevitable twist ties things neatly together before leading to a confusing, borderline-indecipherable ending that fails to satisfy on a number of levels.
  84. For those with a burning curiosity to know how "The Lord of the Rings" as directed by Michael Bay might look, Wrath of the Titans provides an idea. This is epic fantasy for teenage boys as only Hollywood can do it: with plenty of grotesque monsters and big explosions replacing characters and narrative.
  85. This is a joyless experience made all the sadder because most viewers still remember the naughty delights delivered by "American Pie."
  86. What's missing is honesty. It has been supplanted by artifice.
  87. Dark Shadows is a mess, and it's unclear whether its bizarre recipe of comedy, campy horror, and gothic melodrama will satisfy anyone, regardless of their familiarity with the source material.
  88. One of the most positive comments that can be made about Hick is that it advances Chloe Grace Moretz's claim to be one of the best young actresses emerging into today's spotlight.
  89. One of the cleverest moments in Sacha Baron Cohen's The Dictator comes during the first five seconds: a memorial dedication to Kim Jong Il. It's all downhill from there.
  90. Chernobyl Diaries is afflicted with a fatal flaw that damages many horror films: after a better-than-average setup and a promising first half, everything falls apart.
  91. At least the set design and costumes are excellent. The movie feels overstuffed and undercooked but it always looks nice.
  92. For many adults, sitting through this will be an exercise in tedium. It offers about as much as an oversized, overlong Saturday morning cartoon and if that's where expectations are set, it probably won't disappoint. Talk about setting the bar low, though.
  93. For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.
  94. The biggest flaw of the 1990 Total Recall was how disappointingly banal the endgame was. Wiseman adds some special effects and Michael Bay-style pyrotechnics, but the result is similar. It's doubly deflating because one of the great advantages of remaking a movie is being given the opportunity to correct problems - something not attempted here.
  95. The only time Sparkle evidences energy is during the song performances, of which there are too few. The half-baked melodrama provides an unappealing and overlong buffer between them that fails to justify the nearly two-hour running time.
  96. This is a character we have seen a million times before and Eastwood brings little that's new or original to the part. The movie as a whole can be labeled with the same criticism.
  97. Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition.
  98. V/H/S comes across as a production that wants to be more than it is but, as they say, The Emperor has no clothes.
  99. Taken 2 is more of the same, except a little bigger, a little dumber, and a little less invigorating.
  100. Here Comes the Boom is stale and vanilla. We know we're in trouble early when the first joke fails.

Top Trailers