ReelViews' Scores

  • Movies
For 3,073 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Pulp Fiction
Lowest review score: 0 The Neon Demon
Score distribution:
3073 movie reviews
  1. Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."
  2. Uninspired and painfully familiar.
  3. LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.
  4. The only arena in which Gulliver's Travels plays an adequate game is in visual effects.
  5. Trespass is a home invasion movie, but not a clever, taut one; it's sloppy and obvious, with curves so un-serpentine they might as well be straightaways.
  6. The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.
  7. Plastic characters, chaotic camerawork, lots of things blowing up, and an incredibly dumb screenplay. In short, it represents a great time at the movies for anyone who has recently undergone a frontal lobotomy.
  8. A woefully underwritten motion picture that starts out as a dumb comedy before taking an ill-advised detour into mawkish sentimentality. The last 30 minutes of Bruce Almighty is so godawful that it almost sent me screaming from the theater.
  9. Battleship has the IQ of a rutabaga and doesn't require much more intelligence than that to watch. Despite spending copious amounts of time with back story and so-called character development, it's really all about the explosions.
  10. It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.
  11. Has some promise as a throw-away, lighthearted romance. Unfortunately, once those elements are gone, what's left only has a running time of about 13 minutes.
  12. It's not just about a disaster, it is a disaster.
  13. This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.
  14. Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.
  15. Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.
  16. If the film is to work on any level, even a comedic one, it's necessary for the viewers to sympathize with Joanna and Walter. However, the script and scattershot performances keep them at arm's length. Nicole Kidman is in full scenery-chewing mode, and Matthew Broderick hasn't been this invisible since Ferris Bueller had to go back to school.
  17. Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo
  18. This is the sort of movie that gives "chick flicks" a bad name. It's a cross between inept melodrama and a bad sit-com.
  19. Captures the essence of its TV inspiration, which is to say that it's not nearly as clever as it thinks it is. It also feels very, very long.
  20. Instead of generating a testosterone rush, the fight scenes release tryptophan. Not only are they boring, but they are choreographed in an amateurish fashion.
  21. Labeling The Call as "relentlessly dumb" would be an overestimation of its intelligence. This is as brain-dead as a movie can be and it assumes the audience will have the I.Q. of a rutabaga.
  22. It's tired and dated with too few laughs to justify the stultifying attempts at drama and the impossible-to-swallow plot contortions.
  23. Sixteen years after her death, Princess Diana is still capable of generating interest, which is probably the only reason why this dull, pointless movie was greenlighted.
  24. Feels perfunctory and obligatory and, despite the return of several familiar characters, is more like an afterthought than an organic third piece of a trilogy puzzle.
  25. Everything about it feels stale: the actors, the story, the comedy, everything. And, to make matters worse, that everything goes on for an interminable two hours.
  26. Calling Delivery Man a "comedy" is a bit of a stretch, because it's rarely funny. Dumb, yes, but not in a way that's worthy of more than a half-hearted chuckle.
  27. To work, The Host would have required a visionary interpretation rather than the mundane telling that Niccol opts for.
  28. From the start, it's obvious that this is a vehicle for his comedy, and it mostly works -- for about ten to fifteen minutes. After that, Carrey's act gradually grows less humorous and more tiresome, and the laughter in the audience seems forced.
  29. Chaos Theory stumbles from one contrived circumstance to the next, and there's not a moment in this entire mess that conveys any sort of genuine human emotion or reaction.
  30. It's remarkably appropriate that Envy is about turds, because that's what the movie is.

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