ReelViews' Scores

  • Movies
For 3,329 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 The Last of the Mohicans
Lowest review score: 0 Knock Off
Score distribution:
3329 movie reviews
  1. xXx
    For Vin Diesel, starring in XXX is a wonderfully smart career move. Too bad neither "wonderful" nor "smart" are applicable adjectives to describe this film.
  2. A feeling of hopelessness pervades Sleepwalking.
  3. There's not a slowly-paced scene or a dull moment to be found. If nothing else, this film won't bore the average viewer. However, when Hackers has been dissected, what's uncovered beneath the flashy skin is an old-fashioned, film-by-numbers thriller.
  4. The film has lofty goals, but comes across as leaden and pretentious. It's a character study in which the lead participant is the least interesting person in the movie.
  5. 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.
  6. Pride has little to be proud about.
  7. While there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.
  8. This movie is a perfect example of what's wrong with many big-budget films today: no characters, no intelligence, and, worst of all, little fun.
  9. From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.
  10. It's not so much a bad movie as it is a pointless one.
  11. The end result is a meandering story featuring shallow, unconvincing characters attempting to illustrate the evils of technology in its undermining of individual liberties. The Circle offers a lot of good bullet arguments but this is a movie not a Powerpoint presentation.
  12. If you like Alicia Silverstone, you'll probably enjoy Excess Baggage. This dubious road movie/romance/caper flick is clearly a vehicle for the spritely starlet, and her winsome charm is one of its strengths.
  13. The Canyons is a sleazy soap opera that fails primarily because it gives us no one to care about and no reason why we should be interested that we don't care.
  14. The result is sappy, saccharine, and predictable to the point where it's almost painful.
  15. Nevertheless, given Washington's presence and the promise of a virtual reality action story, Virtuosity has some appeal -- provided, of course, the viewers aren't selective.
  16. Contains multiple ax murders, lesbianism, incest, a hanging, and a storm at sea -- yet, despite all of this seemingly enticing material, it's a bore.
  17. There are problems with De Palma's version, especially in its portrayal of the key relationship between Carrie and her mother, but it's a more engaging and insightful portrayal than Kimberly Peirce's too-slick remake.
  18. Offers slim pickings for viewers, regardless of whether they're fans of Woody Allen or not. And I'm sure the French will love it.
  19. To be fair, The Forest boasts a promising premise but squanders most of its goodwill as a result of narrative shortcuts and contrivances, horror film clichés, and haphazard editing.
  20. Mad Money is a comedy caper where the caper's not interesting and the comedy's not funny.
  21. 21
    21 doesn't spin a good enough yarn.
  22. Pretty pictures - thats what The Fall has to offer.
  23. It's disposable entertainment at its most extreme.
  24. Yes, the film is interesting, but it doesn't work.
  25. The problem here isn't as much the talent in front of the camera as it is the weak and hackneyed script. Vampire in Brooklyn is in need of an infusion (or should that be transfusion?) of originality and creativity -- two qualities that are blatantly absent.
  26. Tammy is a road trip movie and, like many road trip movies, it embraces a meandering, aimless tone. It's often said for films of this sort that it's the journey that matters, not the destination. Unfortunately, in this case, neither is worth the price of admission.
  27. A kinetic, visually dazzling thriller that's actually a notch above many of its predecessors - albeit only a small notch.
  28. At a guess, I'd say that Goosebumps will satisfy its core audience - fans of R.L. Stine's popular children's books - and bore pretty much everyone else.
  29. Red Dragon is done in a painfully mechanical, by-the-book manner. Scenes are assembled to move the plot from point A to point B. There's no atmosphere. No tension. Flat performances. All of these problems are rightfully laid at the feet of the man in charge.
  30. With each death, the film becomes less interesting. By the end, it's just a routine slasher flick with a too-predictable final "twist."
  31. Despite a strong opening and riveting first 45 minutes, The Maze Runner devolves into one of the weakest post-apocalyptic Young Adult movies to reach theaters in recent years.
  32. It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.
  33. It has an interesting subtext. I'm referring to the way the lives and friendships of these four individuals crumble in the wake of their accident.
  34. The best segments of the film occur early, as the setting is established with a dose of "Friday Night Lights" normalcy followed by an invasion that recalls "Independence Day."
  35. It's only possible to have the time of your life once, and, for this franchise, that was in 1987.
  36. Die-hard fans are advised to wait for the video. Everyone else would be better off pretending that this movie doesn't exist. In the long run, you'll have a higher opinion of everyone involved.
  37. Despite a promising premise and effective "Shyamalan twist", this low-budget horror film still underwhelms. "The Sixth Sense" writer/director is his own worst enemy in the choices he makes bringing The Visit to the screen.
  38. Entirely inoffensive, so it makes for perfect family fare -– but only if the children are young enough to be indiscriminating about what they're seeing.
  39. Too much in Nacho Libre doesn't work to enable me to recommend it to anyone except a card-carrying member of the Jack Black fan club.
  40. Saying bad things about Never Been Kissed, an unapologetic crowd-pleaser, makes me feel like the Grinch stealing Christmas, but there are some things that can't be ignored.
  41. It's tough to make a good tearjerker - one need look no further than this misfire to understand why.
  42. Watching Live and Let Die isn't a complete waste of time, but there's no overriding reason why anyone should go out of their way to see it unless they're a die-hard Bond fan or are curious about Roger Moore's first turn in the role.
  43. A little like watching an episode of the TV show of which Adam Sandler is an alum: "Saturday Night Live." Zohan feels like an extended collection of skits tied together by a flimsy umbrella story.
  44. Although the production is sporadically amusing, it feels like a 20-minute short that was expanded to feature length to its considerable detriment.
  45. With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.
  46. The movie's central flaw: it's not funny enough to be worth the price of admission.
  47. The acting is a big part of Baghead's problem. Three of the four protagonists are played by performers who do little to distinguish themselves.
  48. Starts out as an effective little horror movie before devolving into an incoherent mess during its final 30 minutes.
  49. 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.
  50. Various subplots are given short shrift and the whole thing feels more like a Cliff's Notes version of a longer piece than an actual finished motion picture.
  51. Coscarelli's screenplay introduces an abundance of intriguing concepts but never goes very far with any of them. The characters are paper thin and the special effects are laughably bad.
  52. On a purely narrative level, Winter's Tale missteps early and often. Its earnestness is its downfall, resulting in opportunities for unintentional humor.
  53. A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.
  54. Although Sinister 2 continues the story begun in Scott Derrickson's creepily effective "Sinister," it feels more like an unnecessary retread than an organic extension of the original.
  55. Insurgent is more clumsy than bad, but it disappoints because it wastes the world-building of Divergent, which set the stage for something more momentous than what the sequel delivers.
  56. This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.
  57. Inept storytelling is one of Lords of Dogtown's great frustrations.
  58. This sloppy mess also pales in comparison to the better-paced, taut "Olympus Has Fallen," which represents 2013's better White House invasion story.
  59. There's some potential in this storyline, but the movie doesn't do much with it besides giving Martin Short an opportunity to put on the fat suit.
  60. The film has energy but isn't well paced. Nothing about it quite gels.
  61. Laws of Attraction is a standard-issue romantic comedy that's missing a key ingredient: the attraction.
  62. The Emoji Movie proves unable to provide even a modicum of content capable of capturing or retaining the attention of an adult. Nap time.
  63. The sloppiness of the ending doesn't only damage The Black Dahlia, it sinks the project.
  64. If movies were rated solely on the basis of style, The Quick and the Dead would score highly indeed. With its dazzling photography, inventive camera angles, and throbbing bass score, the film is an experience for the eyes and ears. Director Sam Raimi and cinematographer Dante Spinotti have woven a beautifully elaborate tapestry: colorful and evocative -- and depressingly two-dimensional.
  65. Turns out to be hopelessly mediocre -- a poorly scripted, preachy fable that forgets about unfolding a coherent, believable story in its zeal to spread propaganda.
  66. The end result, while it provides moments of kinetic entertainment, is too repetitive and uneven to be satisfying.
  67. If nothing else, Entourage (the movie) can be considered a faithful follow-up to Entourage (the TV program). That's good news for anyone who enjoyed the series up to the end and not-so-good news for those who lost interest along the way or never were interested in the first place.
  68. As far as the actors are concerned, Liam Neeson seems to be having fun hamming it up as the villain - a role he rarely gets to play.
  69. Beneath its aw-shucks, wants-to-be-liked exterior, this is a bankrupt motion picture. It's cloying, artificial, and not the least bit romantic.
  70. A tepid affair, distinguished by bland character development, uninspired and insipid dialogue, and a nonexistent plot.
  71. The film has two highlights -- a profanity-laced monologue by Peter Falk about boxing and the one-on-one confrontation between Monroe and Chambers in the ring.
  72. Two fundamental problems afflict Sex Tape (aside from the fact that it's not consistently funny): a shocking ignorance about the state of modern technology and a mistaken belief that the subject matter is inherently edgy.
  73. A fast-food type of movie - it looks good in the commercials and is easy to sit through, but it doesn't offer much in the way of satisfaction.
  74. This is a joyless experience made all the sadder because most viewers still remember the naughty delights delivered by "American Pie."
  75. Unfortunately, although there’s an opportunity here to do something compelling, that opportunity is largely wasted. Perfunctory characterization, lackluster acting, an inability to sustain tension, and an incoherent ending waste most of the goodwill resulting from the premise.
  76. There are moments when The Relic is almost enjoyable, albeit in a visceral sort of way. Unfortunately, when all is said and done, this horror/science fiction amalgamation seems like nothing more ambitious than a bad reworking of elements from Aliens, Species, Jaws, and Predator.
  77. Smokin' Aces is Tarantino lite - a vague and unsuccessful attempt to bring together a bunch of offbeat, unrelated characters in a situation where a bloody resolution is inescapable.
  78. This is easily the worst filmed version of anything penned by the prolific author.
  79. 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.
  80. This is schlock -– by-the-numbers action that ignores character development to the point where we find it hard to care whether L.T. catches Hallam.
  81. 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.
  82. It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie.
  83. Strange that a movie about comedy is so lacking in this quality.
  84. This is a train wreck of an action film -– a stupefying attempt by the filmmakers to force-feed James Bond into the mindless "XXX" mold and throw 40 years of cinematic history down the toilet in favor of bright flashes and loud bangs.
  85. 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.
  86. An insipid, stillborn drama that drags its viewers through a ghetto of despair before finally, unexpectedly plopping them down in the midst of a happy ending.
  87. Although each episode might be marginally entertaining in its own right, the overall effect is that the movie isn't funny enough, exciting enough, or dramatic enough to warrant two hours of an audience member's time.
  88. At least the werewolves in Red Riding Hood have teeth and, when in human form, they don't parade around shirtless.
  89. Disappointing, but barely watchable.
  90. Director Todd Haynes' (Safe) much-anticipated look at the "glam rock" scene of two decades ago, is like a jigsaw puzzle with half of the pieces missing.
  91. 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.
  92. Too much of what The Spy Who Shagged Me has to offer is tired and derivative, and, when the various jokes and gags are tallied, there are many more misses than hits.
  93. Besson may have misfired with The Fifth Element, but at least he does it with flair and a sense of humor.
  94. With a movie of this sort, the viewer expects to undergo something grueling and disturbing. Trade's inability to deliver that sort of visceral experience makes it unworthy of anyone's hard-earned dollars.
  95. Pretty much a one-trick pony, and, after a while, that trick loses its ability to impress.
  96. It takes something lackluster like The Amazing Spider-Man 2 to remind viewers why movies like "Captain America: The Winter Soldier" are considered superior.
  97. Takes the action/adventure story to new heights of preposterousness. In a way, that's not a bad thing, since it allows a certain level of guilty enjoyment.
  98. Perhaps the thing that most surprised me is how fingernails-on-blackboard awful the music is.
  99. Obtuse, narratively incoherent, and ultimately frustrating, it stands as another example of how hard it is to make a good mainstream movie out of a popular computer game.
  100. 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.

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