ReelViews' Scores

  • Movies
For 3,198 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 Aliens
Lowest review score: 0 The Neon Demon
Score distribution:
3198 movie reviews
  1. Much of the film's comedy feels muted; Fun with Dick and Jane isn't a lot of fun.
  2. All-in-all, however, even though Chaplin is fitfully entertaining, it fails to touch enough emotional chords to make it of more than passing interest.
  3. And, while it's not bad enough for me to suggest that it should have been left where it came from, this certainly isn't a shining example of Australian cinema.
  4. Whatever small pleasures it may offer are wiped out by the frustrating sense of incompleteness that accompanies the arrival of the end credits.
  5. Failure to Launch fails at more than just launching. It fails at romance and comedy.
  6. The film is preposterous to the point of distraction, where the necessary level of suspension of disbelief exceeds the capacity of a normal, thinking person.
  7. The product is akin to a mediocre '80s sex comedy (with minimal nudity) and "daring" is a descriptor only the most naïve and puritanical would employ.
  8. One of those movies in which the principals talk a lot but don't say much.
  9. A small group of viewers will find in Burlesque a gem to treasure for years to come. It's a bad movie lover's wet dream. For the average multiplex stalker, however, it exists somewhere between inconsequential and a waste of time, so that's where I'll peg it.
  10. There’s no rule that main characters have to be likable, and DeHaan’s Lockhart isn’t, but they at least have to be interesting. He fails that litmus test.
  11. It's compelling in the way many B-movies are - cheap, sleazy, and lacking the depth we have come to associate with this director.
  12. This is not a good movie but, considering what Halloween has evolved into over the course of seven sequels, it's perhaps better than it has a right to be.
  13. Recommended only for die-hard fans of the TV show. Others are advised to wait until this is available in a smaller format.
  14. There's something missing and it becomes apparent early on. The movie isn't scary - not even a little bit.
  15. Director Brett Ratner has always been associated with spectacle but, even for him, this represents a misstep because the "wow!" factor is muted.
  16. Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.
  17. Despite high production standards and a slick advertising campaign, Primal Fear is as trite and routine as any made-for-TV courtroom drama.
  18. There's hardly a single aspect of this motion picture that seems more than superficially credible, and if the United States government is really run in the Keystone Cops manner depicted in Wayne Beach and David Hodgin's script, then this country is in a great deal more trouble than anyone suspects.
  19. Cursed with two of the least interesting bad guys in recent memory. While McGivens and Armand are unquestionably villainous, there's nothing about them to cause audiences to hiss. They're boring.
  20. Take away Kristen Wiig, and Masterminds offers nothing. She is by far the best thing about the movie and easily outshines her SNL compatriots Kate McKinnon, Leslie Jones, and Jason Sudeikis.
  21. 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.
  22. 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.
  23. Unfortunately, although Blair Witch owes much to the spirit of "The Blair Witch Project," it’s an inferior production. This is as much a result of stylistic and narrative choices as it is a reflection of how the horror landscape has changed in the last 17 years.
  24. An exercise in mediocrity. It's curious how little of the TV series' charm and appeal can be found in this uneven, plodding excuse for a reunion.
  25. Although Ford does not exactly mail in his performance, this is a lazy job, and far from his best work. On top of that, he has no chemistry with co-star (and heartthrob of the moment) Josh Hartnett.
  26. The good news first: The Alamo is probably the most historically accurate depiction yet to reach the screen of the famous siege. The bad news is that "historically accurate" does not necessarily translate into "dramatically successful."
  27. Instead of a satire, they give us a tired, tedious victory-for-the-underdog story, and the unevenness of Ferrell's comedy makes it less appealing.
  28. In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.
  29. In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.
  30. The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.

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