ReelViews' Scores

  • Movies
For 3,398 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 Avatar
Lowest review score: 0 Bachelorette
Score distribution:
3398 movie reviews
  1. Eternal isn't that bad. Actually, it is. But it's kind of fun, too, in a way only cheesy exploitation films can be fun.
  2. This grim, joyless motion picture is anything but fun. It’s a chore to sit through, with all the blazing, noisy pyrotechnics proving unable to lighten the mood.
  3. Four Christmases is waste of time and a disappointment, but it's also relatively painless.
  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. The end product feels trite and unfinished, with the romantic plot being awkwardly and unconvincingly shoehorned into a production that lacks focus.
  6. The limp movie seems to be an attempt by an Australian to mimic a bad American romantic comedy, and, unfortunately, he succeeds admirably.
  7. The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.
  8. Mechanical and artificial, and tells you what to think.
  9. Those who love Robert Rodriguez's over-the-top Grindhouse-flavored spoofs will delight in this one but, ultimately, this is probably one Machete too many.
  10. Doomsday tries to cram so much into its limited 105 minutes that aspects end up feeling rushed and confused (especially the political situation in England) and the ending is perfunctory.
  11. It gets props for kinetic energy, bursts of suspense, and a couple of bravura performances (Will Smith & Margot Robbie). But pretty much everything else is either mediocre or substandard and that makes it hard to champion this bloated and cheerless monstrosity.
  12. A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.
  13. Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.
  14. Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.
  15. Taken 2 is more of the same, except a little bigger, a little dumber, and a little less invigorating.
  16. The film's disappointingly black-and-white approach robs characters and situations of badly needed ambiguity.
  17. Not an abomination, although it is uninspired and insipid. As such, it's perfect television fare.
  18. The Intern is a romantic comedy without the romance.
  19. 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.
  20. "Compelling" is a word one could apply to Jobs - he was a magnetic figure - but it doesn't describe this movie. "Average" might even be a stretch, and that's something of an insult to the man whose story it tells.
  21. Just because it's not boring, that doesn't mean it's worth plunking down the price of admission.
  22. Call Project Almanac a "shaky-cam special", and it's a damn shame. The resultant production, both shaken and stirred, transforms a potentially entertaining pulp time travel story into a misbegotten exercise in frustration.
  23. Never boring. It is, however, frustrating.
  24. Artificial in both its dialogue and its construction, the film only works - on those occasions when it works - because of the sincere performance by the underrated Toni Collette.
  25. What we get is a mediocre remake of a mediocre original – not exactly must-see cinema.
  26. A grim experience, with too little wit and humor to compensate for its faults, and the upbeat ending feels like a cheat. Thornton is good, but not worth the price of a ticket.
  27. There's nothing in Alex Cross that argues another installment is warranted, but much will depend on whether Tyler Perry's audience crosses over and continues to follow him in this new, very different role.
  28. The premise is inherently interesting, but the screenplay (by Glen & Les Charles) is unwilling to take chances. Instead, it uses stock events to push events forward.
  29. It’s a surprisingly flat bio-pic of King’s life between 1972-73 with little attempt to make Riggs into anything more than a two-dimensional caricature/foil.
  30. It's a muddled, meandering affair without a thesis or a point to prove.

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