ReelViews' Scores

  • Movies
For 2,743 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 Life Itself
Lowest review score: 0 A Hole in My Heart
Score distribution:
2,743 movie reviews
  1. Schumacher doesn't leave an imprint on the film -- it could be the work of any second-rate director.
  2. Wild Wild West isn't just a bad adaptation of a TV series; it's a bad film.
  3. It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.
  4. For a strangely-titled, female-oriented drama about mothers and daughters bonding, try "The Joy Luck Club" and leave Ya-Ya as a phrase uttered by one-year olds who have yet to learn how to talk.
  5. One could easily argue that, like many Ed Wood-type bad movies, The Faculty might be headed for the cult classic shelf in the video store. Unfortunately, it's not campy enough, and, worse, it seems to think it's being hip when it's just being dumb.
  6. The Thirteenth Floor shows what can happen when film makers fail to recognize that they need more than a concept to establish a full-length motion picture.
  7. Unremarkable. A more honest description would be to label it as mirthless, pointless, and banal.
  8. The only worthwhile portion of Twin Dragons is the climactic action sequence, but, to get to that, it's necessary to endure more than an hour of unfunny physical comedy and excruciating verbal interaction.
  9. No amount of youthful charisma can alter the fact that, in the light of "Dangerous Liaisons", Cruel Intentions is a feeble and dissatisfying shadow.
  10. With the flat characters and lifeless performances, it's a wonder that anyone in the audience can stay awake all the way through this dull and dreary production.
  11. A soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for NBA properties.
  12. Once again, we have a movie where the jokes are aimed at the least common denominator - meaning that to genuinely enjoy the experience of sitting through Slackers, you will need help from a controlled substance.
  13. Want to see a movie where almost everything takes place on a bus? Try "Speed." Jeepers Creepers 2 isn't even worth a peek.
  14. This is one of those nearly unwatchable movies that becomes an endurance contest for any thinking adult.
  15. This isn't just typical, unchallenging Hollywood drek -- it's typical, unchallenging Hollywood drek made by people who don't care, for people who don't care.
  16. Nothing short of a disaster -– easily one of the worst movies of the year.
  17. This is as dreadful a holiday offering as you're likely to find this year. A lump of coal would be more welcome.
  18. The script isn't just "dumbed down," it's lobotomized.
  19. Isn't worth the time, money, or effort. For Stephen King aficionados, it's just the latest cinematic nightmare.
  20. This is the kind of tearjerker that will cause audience members to cry, but only because they paid hard-earned money to see it.
  21. A bad movie. No amount of perfume sprayed on talk show audiences by Madonna and her husband can eliminate the stench of failure emanating from this motion picture.
  22. At its best, Dumb and Dumber is like an Ernest movie with a scatological bent.
  23. Unappealing for children and adults alike, The King and I will likely bring families together in their mutual boredom.
  24. 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.
  25. Like many genuinely awful movies, Queen of the Damned has the ingredients of a cult film.
  26. A woefully underwritten motion picture that starts out as a dumb comedy before taking an ill-advised detour into mawkish sentimentality. The last 30 minutes of Bruce Almighty is so godawful that it almost sent me screaming from the theater.
  27. An insult to anyone who has tragically and unexpectedly lost a loved-one in a similar manner.
  28. Captures the essence of its TV inspiration, which is to say that it's not nearly as clever as it thinks it is. It also feels very, very long.
  29. An inferior product. It is not well written, well acted, or well directed.
  30. This is a tedious and insulting motion picture. The only ones likely to be surprised by the payoff are those who understandably dozed off fifteen minutes into the proceedings.
  31. A colossal disappointment. Not because it's superficial and shallow –- those characteristics pretty much go with the territory –- but because it's boring.
  32. The movie mandates complete gullibility and vacuous attention in order to work on any level.
  33. For those looking for something positive, this is the only movie I can recall that features music from both ABBA ("Does Your Mother Know") and Handel ("Zadok the Priest"). Let's hear it for musical diversity!
  34. Two agonizing hours of lifeless, mind-numbing hogwash.
  35. A Perfect Murder has inexplicably managed to eliminate almost everything that was worthwhile about "Dial M for Murder," leaving behind the nearly-unwatchable wreckage of a would-be '90s thriller.
  36. A maudlin hack-job.
  37. Boring and repetitive.
  38. It's the most disappointing thing to come from the brothers in years.
  39. With a script that waffles between being hilariously absurd and insultingly stupid, and action scenes that won't cause anyone's pulse to skip a beat, Paycheck is less appealing than a lump of coal in a Christmas stocking.
  40. Misses the mark.
  41. 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.
  42. Twisted is a D-grade thriller with an A-list cast. It's a disappointment from start to finish...But, in the final quarter-hour, it committed the unpardonable sin of insulting my intelligence.
  43. Meet Joe Black has the dubious distinction of being the longest film to date of 1998. It is also one of the most tedious and bombastic.
  44. Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.
  45. It's a cloying, humorless motion picture whose only assets are the work of Jim Henson's Creature Shop and a couple of good one-liners by a pair of rodents.
  46. It's not just about a disaster, it is a disaster.
  47. This is film noir for the MTV generation: fast-paced, slick, flashy, gleefully mindless, and hollow to the core.
  48. Unfortunately for the poor viewer trapped into sitting through this 95 minute mess, the humor is both conventional and unfunny, the script never takes any chances, and the ending is a cop-out.
  49. Instead of generating a testosterone rush, the fight scenes release tryptophan. Not only are they boring, but they are choreographed in an amateurish fashion.
  50. The result is an unappealing mess, made less bearable by uniformly lackluster performances and the cheesy special effects.
  51. The Punisher isn't Frank Castle; it's Jonathan Hensleigh. And the punishee is anyone sitting in the audience.
  52. Godsend is godawful.
  53. The level of humor is sit-com-ish at best and the film's dramatic elements are bland and uninvolving.
  54. If the film is to work on any level, even a comedic one, it's necessary for the viewers to sympathize with Joanna and Walter. However, the script and scattershot performances keep them at arm's length. Nicole Kidman is in full scenery-chewing mode, and Matthew Broderick hasn't been this invisible since Ferris Bueller had to go back to school.
  55. By trying to satisfy every kind of viewer, it's possible that Sphere may end up pleasing no one.
  56. Too long and too full of itself to offer more than a few fleeting moments of entertainment. It doesn't take long for tediousness to triumph.
  57. Redundant and unnecessary.
  58. The only thing that distinguishes Species 2 is how awful it is.
  59. Chase, like his Vacation movies, are things of the past. This is a series that should have died with the '80s. Instead, inexplicably, it has limped on into the '90s.
  60. Watching a misfire like Thunderbirds illustrates how impressive the "Spy Kids" movies are.
  61. Code 46 is like "Solaris" without the psychological depth and strong acting. The movie is flat, boring, pointless, and nonsensical.
  62. The film is critic-proof and it will find an audience, but it's hard to imagine even the film's target demographic (teenage boys) being overly enthusiastic about the product. It's disposable entertainment of the worst kind.
  63. The Brown Bunny is one long, self-indulgent bore topped off with a hard-core porn scene featuring Gallo and co-star Chloë Sevigny.
  64. One has the sense that if the level of violence had been ratcheted up a little, Paparazzi might have been more of a guilty pleasure and less of a chore to watch.
  65. Can't decide whether it wants to be a black comedy, dumb farce, or sentimental sit-com.
  66. Stay away from Birth not because of what goes on (or doesn't) in a bathtub, but because this is not a very good movie.
  67. Beverly Hills Ninja is essentially a one-joke film.
  68. National Treasure's storyline isn't compelling or coherent enough to warrant the term "plot."
  69. Take away the film's attitude, and you're left with "Son of Van Helsing."
  70. This remake replaces suspense with boredom and witty dialogue with lame lines any self-respecting actor should be embarrassed to utter.
  71. A huge disappointment -- the kind of motion picture that makes you actively angry at the filmmaker for subjecting you to it and stealing two hours of your life.
  72. The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.
  73. If there's the kernel of a good story buried somewhere deep in Cursed, it never pops. As werewolf movies go, this one is on par with "An American Werewolf in Paris," but at least that dud had plenty of gore and Julie Delpy's bare breasts to recommend it.
  74. Offensive because it offers little more than unleavened stupidity in the place of the family-friendly action and comedy it promises.
  75. As far as I'm concerned, it's official: Hollywood has lost the art of how to make horror films.
  76. A shallow, transparent satire/social commentary, Palindromes lives and dies on a gimmick.
  77. One can give Ice Cube props for attitude, but not much more.
  78. Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo
  79. Plastic characters, chaotic camerawork, lots of things blowing up, and an incredibly dumb screenplay. In short, it represents a great time at the movies for anyone who has recently undergone a frontal lobotomy.
  80. Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.
  81. Dirty Deeds boasts a passably entertaining idea that is butchered in the telling.
  82. Only for die-hard Cho fans. Everyone else will be offended, bored, or some combination of the two.
  83. The movie starts cheating the audience early, and never lets up.
  84. Speed 2 can be numbered among the worst second chapters ever made.
  85. Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.
  86. Even children, who will be enthralled by all the puppies, may have a hard time not fidgeting for protracted portions of the running time.
  87. Unfortunately, although there are a few nasty thorns here and there, The First Wives Club is a largely uninspired (and unfunny) comedy that collapses completely in the final fifteen minutes.
  88. Tedious and predictable, it employs obvious situations and clich├ęs instead of genuine suspense-building elements.
  89. From the start, it's obvious that this is a vehicle for his comedy, and it mostly works -- for about ten to fifteen minutes. After that, Carrey's act gradually grows less humorous and more tiresome, and the laughter in the audience seems forced.
  90. Very little of what made the written version so enjoyable has been successfully translated to the screen, and what we're left with instead is an overly-long (two hours and thirty-four minutes, to be exact), pedantic thriller.
  91. Plagued by moralizing so strident and a style so artificial that the story never has a chance to speak to an audience.
  92. Director Rick Friedberg (who made the "bad golf" videos with Leslie Nielsen) has crafted a dreadfully unfunny comedy that takes Naked Gun-like sketches and rehashes them without a whit of style or energy.
  93. Things might have been okay if this film had gone someplace, anyplace, but it stalls early, then coasts through an hour of minimally-amusing material before screeching to an amazingly improbable stop.
  94. Fans of the original will end up doing shot-by-shot comparisons. On every level, The Omen isn't just bad filmmaking, it's bad storytelling.
  95. It's all about eye candy and the quick tease. It's not over fast enough.
  96. This is sloppy filmmaking, and it's likely to wipe away whatever luster still remains to Shyamalan's reputation.
  97. John Tucker Must Die is toothless. The jokes are obvious and unfunny, the storyline goes nowhere that's interesting or unexpected, and the only chemistry happens in a science lab.
  98. LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.
  99. Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.
  100. Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious.

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