ReelViews' Scores

  • Movies
For 2,849 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 The Untouchables
Lowest review score: 0 Knock Off
Score distribution:
2,849 movie reviews
  1. The Long Day Closes is very much the visual equivalent of a verse or a poem: beautiful images, but no narrative.
  2. Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.
  3. Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.
  4. Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.
  5. "28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.
  6. 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.
  7. What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.
  8. I lost track of how many times I checked my watch during the nearly three interminable hours it took Heat to play itself to a predictable conclusion of a chase scene and a shoot-out.
  9. 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.
  10. This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.
  11. Ray
    Sluggish, conventional, and almost completely lacking in energy.
  12. Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.
  13. This new interpretation does few things better than the original, and many things worse.
  14. Taken as a whole, Mad Dog and Glory is a disappointingly mixed bag. What's on the screen is passably diverting, but I often felt as if I was seeing only half the movie. With this intriguing premise and cast, the film should have offered more complete entertainment.
  15. What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.
  16. From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.
  17. 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.
  18. Because of the potential of the idea and Cronenberg's reputation as a film maker, it's a real disappointment to watch eXistenZ fall apart the way it does.
  19. 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.
  20. Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.
  21. The movie doesn't offer enough to make it interesting or even diverting.
  22. Yes, A Late Quartet is disappointing. But it's also pretty bad.
  23. As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.
  24. The best thing that can be said about Welcome to Me, as written by Eliot Laurence and directed by Shira Piven, is that it attempts to portray the real Borderline Personality Disorder as opposed to the Hollywood movie version of the disease. Unfortunately, that's about all it does.
  25. The content is actually pretty bland -- it's not incisive, it's not daring, it's not uproarious, and it's not very good.
  26. You laugh a few times but, in the end, you wonder why you bothered.
  27. 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.
  28. 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.
  29. Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition.
  30. 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.
  31. Simply isn't a very good motion picture.
  32. The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.
  33. 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.
  34. Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.
  35. The Pursuit of Happyness is long, dull, and depressing.
  36. Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."
  37. Che
    What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.
  38. Despite its name, Beautiful Girls is actually about a group of irritating, twenty-something males whose adolescent attitudes have remained with them well into adulthood.
  39. While there's no denying that young actress Lindsay Lohan has spunk, she's not terribly effective in the dual role. Her performance is awkward and unsubtle -- she relies on an unconvincing British accent to cue us in to which girl she's playing at any given moment.
  40. The movie's central flaw: it's not funny enough to be worth the price of admission.
  41. Pretty pictures - thats what The Fall has to offer.
  42. After a promising beginning, this movie crashes and burns.
  43. It's a muddled, meandering affair without a thesis or a point to prove.
  44. A major misstep and a disappointment of significant proportions. It may not be a failure for Eastwood the actor, but it's a big one for Eastwood the director.
  45. Although Shortbus doesn't work as porn (and I don't believe it's intended to), it also doesn't work as a serious drama. The storyline is juvenile and the characters remain poorly developed and incomplete.
  46. It's a cobbled together mess of clichés that fails to surprise at any of its turns.
  47. Disappointing, but barely watchable.
  48. 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.
  49. From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.
  50. It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.
  51. 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.
  52. Those who love to cry at movies will doubtless get their money's worth from The Man Without a Face. Others, I imagine, will discover in this movie what I did: a curious mixture of scenes that work and situations that seem hopelessly contrived or overly-sentimental. I didn't hate the film, and after the jarring first half-hour, it kept my attention, but The Man Without a Face never strays far from familiar territory.
  53. After a strong start, Stop-Loss becomes driven by a series of contrivances before falling prey to bad melodrama and even a little cheesiness.
  54. This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.
  55. As high camp, Willard might have something going for it, but not as a horror movie.
  56. It's tough to make a good tearjerker - one need look no further than this misfire to understand why.
  57. Isn't terrible. It's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating, involving character study, but never does more than scratch the surface.
  58. The plot is straightforward and predictable to the point of painfulness.
  59. As coming of age stories go, Wah-Wah does little to distinguish itself.
  60. "Entertainment" is in the eye of the beholder. For me, watching Fast & Furious 6 was more work than fun.
  61. It's disposable entertainment at its most extreme.
  62. A clear case of a narrative running out of steam. Exhaustingly repetitive, this movie attempts many of the same things its predecessor did but with less succes.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
  68. The dialogue is routine, frequently punctuated by cliches, and the character-building scenes do little more than waste time.
  69. 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.
  70. A somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.
  71. This movie desperately wants to be liked. The problem is, there's not much here to like -- at least nothing that's new or interesting.
  72. Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.
  73. 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.
  74. 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.
  75. With its hackneyed plot, feeble attempts at characterization, and predictable finale, the second half of Independence Day becomes an extremely dull and lifeless affair.
  76. 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.
  77. Dreamer is a kids' movie. It offers the simple black-and-whites of innocence, with no grays to add complexity.
  78. Why bother with wit, intelligence, and emotion when children will be equally entertained by pretty images, colorful action, and the obligatory poop joke?
  79. 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.
  80. 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.
  81. 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.
  82. This movie is sloppy and disjointed - an unsatisfying melodrama built upon a shaky foundation of contrivances, coincidences, and plot holes.
  83. Sleeping Beauty is one of those self-consciously artsy motion picture that promises more than it delivers.
  84. Takes things too far by leaving about 75% of its questions unanswered. This isn't an artistic choice; it's screenwriting sloppiness, and it results in a profoundly dissatisfying experience.
  85. This isn't just a horror movie with gore - it's a gore movie, period. Blood is its raison d'etre. It's not scary. It's not shocking. It just wallows in viscera. Ho-hum. Pass the ketchup.
  86. With 3-D, a little goes a long way and, in the absence of a legitimate script with credible characters, the fun dries up long before the running time has expired.
  87. The Santa Clause isn't an unmitigated disaster, but it's also a whole lot less impressive than it could be.
  88. The main problem with Coach Carter can be summed up simply: too much sermonizing.
  89. Confetti is an excellent study of what happens when someone botches Christopher Guest's mockumentary format.
  90. The contrived storyline offers little opportunity for characters to grow and the meandering narrative trajectory and anticlimactic ending will have some viewers wondering why they bothered.
  91. Poorly paced with a tendency to veer into the pretentious and littered with contrivances and dramatic short-cuts, I Origins fails to provide a single three-dimensional character or compelling relationship.
  92. What happens when movie producers cross "Three's Company" with "Masterpiece Theater?" The result would be similar to what Touchstone Pictures has provided with Casanova, a farcical romantic comedy period piece.
  93. Elements of Across the Universe are shockingly awful and the film lasts at least 30 minutes past the bearable stage. But if you like the Beatles and the idea of hearing about 20 covers of their work fills you with a perverse joy, this may be the movie for you.
  94. 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.
  95. The result is sappy, saccharine, and predictable to the point where it's almost painful.
  96. The problem with the movie, whose title compresses "religious" and "ridiculous" into a single word, isn't that it milks more than one sacred cow but that it does so with minimal subtlety and intelligence.
  97. 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.
  98. Foster's film offers its fair share of laughs, although most come at the expense of "easy mark" characters. Dramatically, however, the movie is only a step up from a flop.
  99. Inept storytelling is one of Lords of Dogtown's great frustrations.
  100. The limp movie seems to be an attempt by an Australian to mimic a bad American romantic comedy, and, unfortunately, he succeeds admirably.

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