ReelViews' Scores

  • Movies
For 2,790 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 3.7 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:
2,790 movie reviews
  1. From start to finish, A Life Less Ordinary feels like a group of sometimes amusing, sometimes clever, and sometimes tedious skits forced to fit together.
  2. It is a ghastly experience, and I left the theater feeling as if I had waded neck-deep through a stream of raw sewage.
  3. This film mistakes action for energy, ridiculous circumstances for comedy, and a mismatched male/female pairing for romance.
  4. There's nothing remotely memorable about this walk.
  5. To work, The Host would have required a visionary interpretation rather than the mundane telling that Niccol opts for.
  6. Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.
  7. The film is too energetic, too jaw-droppingly campy, and too silly not to be enjoyed and celebrated on some level. "Cheesy" doesn't even begin to describe it, yet that's at the heart of its perverse charm. Now, that's entertainment!
  8. Post Grad isn't funny, surprising, or insightful enough to provoke more than a ho-hum reaction. It's not bad in the way that many failed comedies are bad; it's simply uninspired.
  9. There are quite a few unintentionally funny moments, although the overall experience was too intensely painful for me to be able to advocate it as being "so bad, it's good."
  10. This feels a lot like some of the recent, unwatchable Adam Sandler offerings: boorish, unfunny comedy colliding with saccharine, quasi-dramatic filler.
  11. It will bore you.
  12. There's no compelling reason to see Deal. Everything it offers is familiar to the extent where even though it's not a remake, it feels like one.
  13. Isn't worth the time, money, or effort. For Stephen King aficionados, it's just the latest cinematic nightmare.
  14. With each death, the film becomes less interesting. By the end, it's just a routine slasher flick with a too-predictable final "twist."
  15. Friday the 13th is neither tense nor frightening (although, to be fair, it is at times creepy and atmospheric, due in part to budgetary limitations that led to a low-key style).
  16. The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.
  17. Misses the mark.
  18. The gore is so badly done that it's borderline comical and poor lighting passes for "atmosphere."
  19. By the end of the film, I was hoping everyone on two legs would die, preferably suffering as much on screen as I was in the audience.
  20. With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.
  21. This is probably Murphy's best comedic performance since "Bowfinger." The adrenaline is pumping and the outrageousness is dialed all the way up. Murphy is often funny, and occasionally hilarious.
  22. The Wedding Ringer is imperfect but its imperfections are tolerable because they're accompanied by a dollop of drama, a measure of laughter, and an oversized helping of Kevin Hart.
  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. The funniest movie of the year - a true laugh riot. Viewers will be holding their sides to contain the laughter. Forget Borat - if you're looking for something hilarious, this is the movie to see. What's that? It's not supposed to be a comedy. Oops.
  25. The motion picture version of Bewitched is a travesty of monumental proportions that belongs in the "What the hell were they thinking?" category.
  26. This is the film to watch when pretty much everything else has been sold out and the only remaining choices are The Back-Up Plan and the latest Rob Schneider opus.
  27. It's a little sad that The Messengers is ultimately a good candidate for burial in a toxic waste dump because there are some good elements contained herein.
  28. Lacks the kind of forceful, attention-grabbing chemistry that elevates a movie in this genre from a passable diversion to a lasting source of entertainment.
  29. Doesn't have the decency to end when it should.
  30. Words cannot express how weary I am of watching lifeless, hollow movies like My Life in Ruins - generic romantic comedies that have no clue when it comes to either "romance" or "comedy."
  31. The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.
  32. It's dull, childish, and uninspired.
  33. The biggest problem with Law Abiding Citizen, however, is that the plot is just plain dumb.
  34. Yes, this film is worse than "Cliffhanger," Stallone's last venture into chaos.
  35. If all you're looking for is breasts, blood, and gore, this film hits pay dirt. None of the killings are terribly inventive, but they are plentiful, and why bother being devious when axes, machetes, knives, and pointed sticks will do the job just as well?
  36. I found the most extreme material to be so tasteless that it voided all comedy.
  37. A dreadful, hackneyed piece of cinema.
  38. The result is not entirely uninteresting, but it suffers from some ill-advised decisions. In fact, the film's "hook" may be its greatest detraction.
  39. Comes across as a cheesy, fundamentally unsatisfying experience.
  40. If you like Alicia Silverstone, you'll probably enjoy Excess Baggage. This dubious road movie/romance/caper flick is clearly a vehicle for the spritely starlet, and her winsome charm is one of its strengths.
  41. Unfortunately, where the movie falls apart is in the storyline. While Spawn fans may be delighted by this effort, the uninitiated may have a hard time getting beyond the fancy special effects and often-incoherent plot.
  42. One doesn't expect intelligent scripting or deep characterization from Roland Emmerich, but the film's lack of energy, poor special effects, and monotonous pacing lead to an inescapable conclusion: 10,000 B.C. isn't only brain-dead, it's COMPLETELY dead. It's inert and without a heartbeat.
  43. The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.
  44. Reading a Sparks novel allows one's imagination to enter the equation. Watching one of his stories adapted on screen has exactly the opposite effect: it neuters the imagination. This is soap opera, pure and simple.
  45. A bunch of IQ-challenged characters traipsing through a laughably bad scenario brought to life using silly dialogue, banal direction, and questionable special effects.
  46. A colossal disappointment. Not because it's superficial and shallow –- those characteristics pretty much go with the territory –- but because it's boring.
  47. One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.
  48. My Best Friend's Girl isn't just a misfire; it's a misfire compounded by a chain of miscalculations, and it's hard to figure out who this could appeal to (except, perhaps, Dane Cook's fan club).
  49. Never boring. It is, however, frustrating.
  50. He's still big and burly, but, at age 54, Schwarzenegger is starting to look a little too old to be involved in this kind of stuff. Action films are the province of younger stars.
  51. This is one of those movies where you stay rooted in your seat just to see how bad it can really get.
  52. Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.
  53. This is a rare time when young ones will get more out of a Sandler movie than their parents, who may have grown up with him when he was on "Saturday Night Live."
  54. Welcome to Mooseport's satirical edge is dull and pitted, the screenplay is overlong and uninteresting, the comedy is soft and shapeless, and the actors perform like they're on a sit com.
  55. The only arena in which Gulliver's Travels plays an adequate game is in visual effects.
  56. Awake is short enough (about 85 minutes) that it doesn't wear out its welcome. It's not a good movie but it's silly and lively enough to keep most viewers from dozing off, even if that might be a more profitable use of their time.
  57. This movie isn't bad in the way some incompetently made movies are bad; this is bad because there's much skill evident in a pointless endeavor.
  58. Is this a movie or a feature-length advertisement for Qwest? We're not just talking one product placement; this brand name is nearly omnipresent.
  59. RV
    On those rare occasions when RV stumbles across a comedic moment that is legitimately funny, it drains the humor out of it by milking it dry.
  60. It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.
  61. The movie feels like a vanity production, although it's difficult to determine whose ego is being stroked by this expensive adaptation.
  62. The Amityville Horror fails as a movie, but, if you are searching for are a few good scares, you'll find them here.
  63. As a video rental, this film will probably play a lot better than it does at the local multiplex.
  64. One of Mindhunters' strengths is that it's difficult to guess who the culprit is because Harlin and his screenwriters don't play fair with the audience.
  65. Akin to watching a bad sit-com that never ends.
  66. The problem is, while the thriller aspects of the movie are serviceable, they aren't good enough to form the basis of anything more serious than a sit-com, and by spending as much time on them as Code Name: The Cleaner does, it makes the film at times seem drawn-out and tedious.
  67. Where About Cherry fails is in its depiction of interpersonal relationships. Nearly all of them are flat and uninspired.
  68. The sad truth about After Earth is that not only is it difficult to find things it does well, but there are numerous examples of outright incompetence dotting the landscape.
  69. Unremarkable. A more honest description would be to label it as mirthless, pointless, and banal.
  70. Boring and uninspired, this movie gives ghost stories a bad name.
  71. The storyline is at times muddled and incoherent. This won't bother readers much since they have the "inside track" on what's happening. Then again, the narrative is so predictable that maybe it doesn't matter.
  72. Levy and Jackson save the day, and the film. The Man isn't great entertainment, but it contains enough laughter-provoking material to make it worth a look.
  73. Straight viewing could result in brain damage.
  74. The Lazarus Effect begins with an intriguing premise then proceeds to squander all the early goodwill through a slow, inexorable descent into cheap horror gimmicks.
  75. 54
    Too often, the film is more like a soundtrack with visuals than a well constructed, fully developed motion picture.
  76. For all of its existential posturing, Being Human ends up being a rather shallow motion picture.
  77. We believe the dislike at the onset but not the romance at the payoff. And that's a major flaw.
  78. A tepid affair, distinguished by bland character development, uninspired and insipid dialogue, and a nonexistent plot.
  79. Detroit Rock City possesses three characteristics: an irreverent attitude, a high energy approach, and a loud soundtrack. While these qualities don't necessarily add up to a good movie, they keep the proceedings from becoming dull.
  80. The Punisher isn't Frank Castle; it's Jonathan Hensleigh. And the punishee is anyone sitting in the audience.
  81. Isn't just bad, it's very bad.
  82. Aside from Snipes' well-tuned performance and a few clever scenes detailing superstar marketing, this picture is a veritable wasteland. Even watching the horror show that the real Giants have become during the 1996 season is more fun than this. The advertising slogan may be "fear strikes soon", but, when it comes to The Fan, fear, like the movie, strikes out.
  83. This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.
  84. The movie is populated by dislikeable individuals doing unpleasant things but isn't redeemed by the vein of viciously black comedy that made "The War of the Roses" and "Bad Santa" such devilish pleasures.
  85. 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.
  86. Although the film is clearly trying to follow in the footsteps of the Beatles' classic, it's several long strides behind, lacking the same sense of originality, spontaneity, high energy, and joi de vivre.
  87. This is as excruciating a movie as is likely to be experienced by anyone, anywhere. It isn't merely that the story is insulting, the characters are bland, the action is dull, and the CGI is everywhere - it's that all this goes on for nearly three hours. That's three hours of your life you'll never get back.
  88. There's a sense that a much better movie is trying to get out but it never attains escape velocity.
  89. After this disgrace, it's time to shut the hills' eyes for good.
  90. However, once you realize there's no "pleasure" to be had from something this wantonly dumb and idiotically constructed, all that's left is "guilt" - guilt that you actually spent money to see this.
  91. Chock full of high-tech action, with a lot of chasing and shooting and explosions.
  92. There's some potential in this storyline, but the movie doesn't do much with it besides giving Martin Short an opportunity to put on the fat suit.
  93. For acting to be this bad in movie not directed by Michael Bay or George Lucas, it has to be intentional.
  94. The film's heart is undoubtedly in the right place, but so what? Fine ideals don't mean much when they're couched in an inert, pointless storyline.
  95. A turd of T-Rex proportions, Land of the Lost makes one remember last summer's "Speed Racer" fondly.
  96. The script isn't just "dumbed down," it's lobotomized.
  97. Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."
  98. Disgusting, offensive, and utterly without merit. And, on top of that, it's boring and pretentious.
  99. The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clich├ęs.
  100. The moment Showtime begins to take itself even remotely seriously, it loses whatever edge it might have had -- and that occurs less than 15 minutes into the proceedings. The best time for Showtime is no time.

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