ReelViews' Scores

  • Movies
For 3,145 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 The Sweet Hereafter
Lowest review score: 0 Bachelorette
Score distribution:
3145 movie reviews
  1. With a cast featuring Ben Stiller, Owen Wilson, Robin Williams, and Ricky Gervais, one has a right to expect something amusing from Night at the Museum. Oddly, not only is the movie unfunny, but it rarely tries for laughs.
  2. Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.
  3. Actually, the more distance the studio places between the two films, the better, because the 1997 production can't hold a candle to the 1973 release, and an attempted comparison only makes the new Bruce Willis/Richard Gere vehicle look worse.
  4. Why bother with wit, intelligence, and emotion when children will be equally entertained by pretty images, colorful action, and the obligatory poop joke?
  5. To be fair, there are occasional moments that succeed dramatically. These are typically the quieter, less histrionic ones.
  6. The movie is uneven in the extreme, to the extent that it feels like two imperfectly wed pictures. The first, while not extraordinary, at least contains some interesting ideas. The second borders on embarrassing: an overblown melodrama complete with coincidence building upon coincidence and plot threads that are left unresolved.
  7. Overlong and at times tedious; the taste is gritty and lingers unpleasantly.
  8. The content is actually pretty bland -- it's not incisive, it's not daring, it's not uproarious, and it's not very good.
  9. 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.
  10. The film provides ample opportunity to attack the MPAA's hypocrisy. Max Payne is a bloodbath, yet it manages a PG-13 rating by keeping the explicitness of the killings just a whisker shy of what would be necessary for an R.
  11. 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.
  12. Suspension of disbelief is an oh-so-tricky hurdle for a movie like this to overcome and The Book of Henry fails to achieve it.
  13. The movie isn't so much bad as it is formulaic and uninspired. In some ways, that might almost be a worse sin.
  14. The mismatched blending of Hirschbiegel's low-key horror and the Wachowski Brothers' anything-but-low-key action sequences results in a cinematic dud.
  15. Evans' goal is to do for high school baseball what "Hoosiers" did for high school basketball, but to mention both titles in one sentence is almost an insult to a picture that many rank as the first or second all-time sports film.
  16. A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.
  17. The film clearly wants to be more than just a run-of-the-mill horror-thriller but the allegorical aspects are half-baked and the attempts to mimic Kubrick’s "A Clockwork Orange" and "Eyes Wide Shut" feel more like campy satire than an homage.
  18. Swing Kids has a multitude of problems, the most glaring of which is its loose treatment of history and the Nazis.
  19. This time around, however, the magic has fizzled. Based solely on merit, Now You See Me 2 is a sequel that should never have been made.
  20. It's easily the weakest entry into this ever-expanding category and is inferior to its subtitled source material. Quarantine implies "stay away" and that's not bad advice.
  21. It would be disingenuous for me to claim that Ted 2 isn't funny. Although I was often bored by the plodding direction of the story, I laughed from time-to-time.
  22. The movie ends with a bizarre and unsatisfying denouement. The epilogue, which is designed either to set up a sequel or lampoon "Halloween 2," plays like a sour last note. I suppose someone thought it was clever, but it doesn't work.
  23. Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.
  24. "Twister" is a rush. Dante's Peak, on the other hand, is a bore. Oh, it has its moments, but most of them are concentrated in the final forty-five minutes. The first hour, which is all typical disaster movie setup, is interminable.
  25. There's only so far a movie can go on loud music, nicely-framed shots, testosterone, and adrenaline. Bad Boys takes the often-traveled road, and leads the audience to a dead end.
  26. Whether the core flaw lies in the script or is the result of overly aggressive editing, the final result is offers only sporadic glimpses of the compelling thriller Broken City fails to evolve into.
  27. Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.
  28. Aside from a powerful performance by Ron Rifkin (reprising his stage role) and a few quietly effective scenes, there's not much reason to subject yourself to a film this off-putting.
  29. Dreamer is a kids' movie. It offers the simple black-and-whites of innocence, with no grays to add complexity.
  30. For a mostly brainless movie, The Expendables 3 has a surprisingly dense plot, which is part of the problem. The 2-hour running length is unnecessarily long.

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