ReelViews' Scores

  • Movies
For 2,825 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 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,825 movie reviews
  1. Wild Wild West isn't just a bad adaptation of a TV series; it's a bad film.
  2. In R.I.P.D., we have a legitimate train wreck of a motion picture: a film that doesn't work on any level. It's not funny. It's not exciting. It's not engaging. It's a waste of time and money.
  3. 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.
  4. 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.
  5. It represents a missed opportunity on every level. As a black comedy, it fails. As a satire of the bloated wedding industry, it fails. As a drama about friendship triumphing over all, it fails.
  6. "The Hangover" was high octane fun. "The Hangover Part II," despite its repetitive nature, was enjoyable. The Hangover Part III is some kind of hideous experiment in mass consumer torture.
  7. Orphan is being marketed as a horror movie, but that's misdirection. It's more of a standard thriller in the "evil amongst us" mode, about a group of people who inadvertently admit a psychopath into their midst.
  8. 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.
  9. The result is an unappealing mess, made less bearable by uniformly lackluster performances and the cheesy special effects.
  10. This is as dreadful a holiday offering as you're likely to find this year. A lump of coal would be more welcome.
  11. Regardless of whatever ephemeral entertainment this production may offer to some, it is not by any reasonable definition a good movie. It is badly written, inexpertly directed, poorly acted, erratically paced, and features music of dubious worth.
  12. Plagued by moralizing so strident and a style so artificial that the story never has a chance to speak to an audience.
  13. 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?
  14. Teenage Mutant Ninja Turtles doesn't so much provide brainless enjoyment as it pummels the viewer into submission. "Shell-shocked" is a reasonable description of the experience.
  15. To succeed, Deception requires viewers to be both inattentive and stupid. There's not a twist in this flimsy and moth-eaten plot that isn't both contrived and transparent and not a character who hasn't been hopelessly manipulated by the needs of the narrative.
  16. 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.
  17. Unremarkable. A more honest description would be to label it as mirthless, pointless, and banal.
  18. The only thing that distinguishes Species 2 is how awful it is.
  19. 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.
  20. 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.
  21. The movie starts cheating the audience early, and never lets up.
  22. A shallow, transparent satire/social commentary, Palindromes lives and dies on a gimmick.
  23. A maudlin hack-job.
  24. 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.
  25. 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).
  26. The script isn't just "dumbed down," it's lobotomized.
  27. 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.
  28. 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.
  29. 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.
  30. 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.
  31. The movie mandates complete gullibility and vacuous attention in order to work on any level.
  32. The Punisher isn't Frank Castle; it's Jonathan Hensleigh. And the punishee is anyone sitting in the audience.
  33. 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.
  34. Schumacher doesn't leave an imprint on the film -- it could be the work of any second-rate director.
  35. Lockout is painful. Not painful in the way Uwe Boll or "Sex and the City" movies are painful. But painful enough that I kept waiting for Nicolas Cage to show up. Or Katherine Heigl. Or, god forbid, both.
  36. Nothing short of a disaster -– easily one of the worst movies of the year.
  37. Misses the mark.
  38. This is a mechanical gore-fest that offers preposterous stunts in place of escalating tension and waxwork mannequins in place of marginally interesting characters.
  39. 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.
  40. A tedious, incoherent bore.
  41. The movie has little to recommend it and more than a few things to encourage those who pursue quality cinema to stay away.
  42. Boring and repetitive.
  43. I wonder if Gamer might make a good game; it certainly doesn't make a good movie.
  44. 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.
  45. Speed 2 can be numbered among the worst second chapters ever made.
  46. 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.
  47. Everything in G.I. Joe: Retaliation is perfunctory - technically proficient but soulless. It's not exciting. It's boring.
  48. 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.
  49. Devil will do little to dispel the growing belief that Shyamalan is a one-trick pony whose horse has keeled over. The laughter during the trailer was sadly prescient; the film is a joke.
  50. 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.
  51. Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.
  52. A soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for NBA properties.
  53. Code 46 is like "Solaris" without the psychological depth and strong acting. The movie is flat, boring, pointless, and nonsensical.
  54. 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.
  55. It is now weighed down by a second half that's equal parts incoherent, tedious, and repetitive.
  56. 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.
  57. As a satire on the media's infatuation with violence and murderers, Natural Born Killers hits the bullseye. The problem is, this is a one-note movie. It repeatedly hammers home the same point until the audience is bludgeoned into senselessness.
  58. Painfully unfunny and unnecessarily long, this movie is the antithesis of its predecessor, the delightfully raunchy "Horrible Bosses."
  59. 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.
  60. Alien 3 is, simply put, a mess. The writers have no idea how to tell a coherent, entertaining story. With the exception of a surprise or two, there isn't much worthwhile here.
  61. Dull, uninspired, and redundant.
  62. It's a depressing experience to view something like Saw IV. It's not just the soullessness that's dispiriting, but the lack of invention. When a movie does little more than repeat what its predecessors accomplished with grotesque effectiveness, it's past time to tip this corpse into its grave and bury it.
  63. Director Scott Waugh’s intention may have been to elevate my pulse, but the only thing at which he succeeded was getting me to check my watch repeatedly.
  64. It's all about eye candy and the quick tease. It's not over fast enough.
  65. Like many genuinely awful movies, Queen of the Damned has the ingredients of a cult film.
  66. A muddle of a film - an overlong bore that either mistakenly thinks it's something more than a humdrum romance or has incorporated a variety of pretentions as window-dressing.
  67. This is sloppy filmmaking, and it's likely to wipe away whatever luster still remains to Shyamalan's reputation.
  68. A "Jennifer Aniston movie" has become synonymous with "derivative, lackluster mediocrity," and it's a shame. We know she has both talent and charisma but nothing on her recent resume has allowed her to display those qualities. So we're stuck with films that are at best forgettable and at worst painful.
  69. 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.
  70. Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."
  71. Uninspired and painfully familiar.
  72. LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.
  73. The only arena in which Gulliver's Travels plays an adequate game is in visual effects.
  74. Trespass is a home invasion movie, but not a clever, taut one; it's sloppy and obvious, with curves so un-serpentine they might as well be straightaways.
  75. The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.
  76. 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.
  77. 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.
  78. Battleship has the IQ of a rutabaga and doesn't require much more intelligence than that to watch. Despite spending copious amounts of time with back story and so-called character development, it's really all about the explosions.
  79. It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.
  80. 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.
  81. It's not just about a disaster, it is a disaster.
  82. This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.
  83. Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.
  84. 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.
  85. 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.
  86. 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
  87. This is the sort of movie that gives "chick flicks" a bad name. It's a cross between inept melodrama and a bad sit-com.
  88. 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.
  89. Instead of generating a testosterone rush, the fight scenes release tryptophan. Not only are they boring, but they are choreographed in an amateurish fashion.
  90. Labeling The Call as "relentlessly dumb" would be an overestimation of its intelligence. This is as brain-dead as a movie can be and it assumes the audience will have the I.Q. of a rutabaga.
  91. It's tired and dated with too few laughs to justify the stultifying attempts at drama and the impossible-to-swallow plot contortions.
  92. 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.
  93. Feels perfunctory and obligatory and, despite the return of several familiar characters, is more like an afterthought than an organic third piece of a trilogy puzzle.
  94. Everything about it feels stale: the actors, the story, the comedy, everything. And, to make matters worse, that everything goes on for an interminable two hours.
  95. Calling Delivery Man a "comedy" is a bit of a stretch, because it's rarely funny. Dumb, yes, but not in a way that's worthy of more than a half-hearted chuckle.
  96. To work, The Host would have required a visionary interpretation rather than the mundane telling that Niccol opts for.
  97. 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.
  98. Chaos Theory stumbles from one contrived circumstance to the next, and there's not a moment in this entire mess that conveys any sort of genuine human emotion or reaction.
  99. It's remarkably appropriate that Envy is about turds, because that's what the movie is.
  100. It will bore you.

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