ReelViews' Scores

  • Movies
For 2,868 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 Manhattan
Lowest review score: 0 A Hole in My Heart
Score distribution:
2,868 movie reviews
  1. The problem is that the writing is too weak for me to come close to recommending it.
  2. The pacing is uneven, the frenetic action is rarely suspenseful, the dialogue is neither witty nor intelligent, and the anticlimactic endgame drags out to an improbable conclusion.
  3. 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.
  4. 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.
  5. CQ
    Pretentious and self-indulgent -- those two words come to mind when considering CQ.
  6. A mediocre diversion -– a movie better watched at home where the remote control can be used (if necessary) to fast forward to the film's best part: the obligatory end credit outtakes.
  7. There's more contrived melodrama in these two hours than romance fans could reasonably hope for.
  8. If you take The Postman at face value - that it's a straightforward, post- apocalyptic adventure tale, then it could seem like one of the worst movies of the year, if not of all time.
  9. If ever there was a movie that could cause even the most restless sleeper to fall into a deep slumber, this is it.
  10. The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.
  11. 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.
  12. There is a perverse enjoyment to be had from something this cheesy, although not enough of one that I can recommend sitting through it. Still, as bad as Creature is, it can be fun, although the level of enjoyment is probably in direct proportion to the viewer's level of intoxication.
  13. 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.
  14. A script that, at its best, is inconsistent, and, at its worst, is laughably implausible and riddled with obvious flaws.
  15. The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.
  16. Chernobyl Diaries is afflicted with a fatal flaw that damages many horror films: after a better-than-average setup and a promising first half, everything falls apart.
  17. This isn't a family-friendly film - anyone over the age of about 8 will immediately recognize that significant chunks of the story don't make sense.
  18. Here Comes the Boom is stale and vanilla. We know we're in trouble early when the first joke fails.
  19. Ray
    Sluggish, conventional, and almost completely lacking in energy.
  20. It's not so much a bad film as it is a disappointing one. A very disappointing one.
  21. When a movie wants to be sold as a spectacle, it had better deliver something more spectacular than this.
  22. The problem lies in the screenplay which latches on to the few clever and/or funny elements in the film and runs them into the ground via repetition.
  23. This movie isn't bad just because it follows a formula slavishly but because it does so without verve or passion.
  24. Despite a slow start, the movie eventually slips into a congenial flow. Unfortunately, Guarding Tess ends up derailing because of a ill-conceived ending that has something to do with a silly kidnapping subplot.
  25. The quality of the writing is more than a notch below that of our show. Most of the jokes aren't as witty, and the laughs come less frequently. Maybe it's because so many of the things they do in the movie are lifted directly from the show, but a lot of stuff seems stale.
  26. 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.
  27. "28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.
  28. Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.
  29. There are good things to be said about The Spirit, but not enough of them to outweigh the bad.
  30. The film occasionally pokes fun at itself, although not nearly as often as it should. I don't recommend it for anything more significant than a bottom-of-the-barrel rental or a desperation cable choice, but it delivers what it advertises, and I suppose that could be considered a virtue.
  31. Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."
  32. Fred Claus is less enchanting than the 2003 fairy tale, "Elf" (which was directed by Vaughn's good buddy, Jon Favreau), but no worse than the inexplicably popular Tim Allen series.
  33. This isn't as much a movie as it is a recipe for a cinematic casserole in which the ingredients are clichés and rip-offs.
  34. You know you're in trouble when 50% of the running length is devoted to plot exposition, and the movie still doesn't make any sense.
  35. There's nothing here to appreciate for anyone who isn't a Sandler fan and, unfortunately, too little even for those who have dubbed themselves lifelong supporters.
  36. 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.
  37. This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.
  38. Perhaps the most disappointing thing about Apt Pupil is the lack of sustained tension generated by director Bryan Singer.
  39. We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.
  40. All that's missing from Ivan Reitman's Six Days, Seven Nights is a plot with a moment's originality.
  41. V/H/S comes across as a production that wants to be more than it is but, as they say, The Emperor has no clothes.
  42. Enough is Apted at his most commercial, and, unfortunately, his least compelling.
  43. When I watch a comedy, I want it either to present endearing characters in fun situations or to make me laugh frequently. BASEketball accomplishes neither objective.
  44. The ending seems predestined, and the overlong, tepid journey getting to that point isn't worth the price of admission.
  45. Were it not for the participation of two A-list actors, Nicole Kidman and Colin Firth, Before I Go to Sleep would have been headed straight to video. The inclusion of those two doesn't make the film any better, just less anonymous.
  46. 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.
  47. 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.
  48. If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.
  49. While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.
  50. The kind of film that will work for an audience that's just interested in having an emotional experience (with a happy ending) without caring how obviously or clumsily they are manipulated. I find this sort of sledgehammer film making to be offensive, but there are those who enjoy it.
  51. Ultimately, however, appreciation of The Phantom of the Opera will hinge upon your opinion of Lloyd Webber's skills as a composer.
  52. Those familiar with the novel will undoubtedly agree that reading it is a more satisfying experience than watching this disappointing film. One expects more - much more, in fact - with a cast of this caliber.
  53. Likely won't please fans of the original TV series, but the movie hasn't been made for them.
  54. Simply isn't a very good motion picture.
  55. Because so little of it works, the film is disposable.
  56. 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."
  57. I'm not a religious man but, Hallelujah! I may not be done with Meyer but at least I'll never again have to cope with the angst, self-absorption, and vampire mythology mutilation that characterized these five movies.
  58. While few will debate Lee's ability as a director, this isn't close to being in his wheelhouse. Oldboy cries out for a Brian DePalma, a Quentin Tarantino, or even a David Lynch. The end result bears out the suspicion that Lee isn't right for the material, nor it for him.
  59. Chris Elliott is appallingly bad as the title character. Although his role cries out for an over-the- top performance, Elliott's grating personae cancels out any positive contributions he can offer in that area.
  60. Bullet to the Head is bloody and violent but not nearly as much fun as it should be.
  61. The Time Machine is stupid -- too stupid for the impressive special effects or the competently directed action sequences to wash away the bitter taste.
  62. There's nothing remotely memorable about this walk.
  63. Science fiction has an obligation to seduce the viewer into applying the "willing suspension of disbelief." With its plot holes and head-scratching incongruities, Transcendence fails in this arena thereby making the production as a whole feel bloated and unsatisfying.
  64. 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.
  65. The Break-Up is like Danny DeVito's "The War of the Roses," but without the wit, the acid, and the blacker-than-black humor.
  66. You laugh a few times but, in the end, you wonder why you bothered.
  67. What's missing is honesty. It has been supplanted by artifice.
  68. The curious thing about Father of the Bride Part 2 is that not only is it the sequel to a remake, but it's the remake of a sequel. As such, it's a perfect illustration of stretching an idea too far. Certain premises lack the necessary material for a multiple features, and this is one such example
  69. 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.
  70. As unlikely as it may sound, 2004 is the year when directors Kevin Smith and Garry Marshall have made virtually the same movie...Nevertheless, it's impossible to deny that Raising Helen is a near clone of "Jersey Girl."
  71. There's something missing and it becomes apparent early on. The movie isn't scary - not even a little bit.
  72. It's a cobbled together mess of clichés that fails to surprise at any of its turns.
  73. Scream 4 is so obsessed with the self-referential element that made the original Scream unique that it loses the capacity to be genuinely scary or funny.
  74. Yes, Unknown is preposterous. That in and of itself is not a reason to avoid the movie. The problems lie in the way the absurdity is presented and the manner in which the screenplay resolves once the "truth" is revealed.
  75. Much of the average viewer's time in the theater will be spent waiting somewhat impatiently for the high-energy climax. Catnaps are an advisable way to survive some of the slow spots.
  76. A standard-order romantic comedy with many of the expected twists and complications. It suffers from the flaw of not giving the lead characters enough time together.
  77. An unfocused mess, with poor chemistry all around and an ending that's as firm and satisfying as an overcooked noodle.
  78. 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.
  79. The appeal is there for those who crave formulaic romantic drama, but there's little of interest for a wider audience.
  80. 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.
  81. xXx
    For Vin Diesel, starring in XXX is a wonderfully smart career move. Too bad neither "wonderful" nor "smart" are applicable adjectives to describe this film.
  82. A feeling of hopelessness pervades Sleepwalking.
  83. There's not a slowly-paced scene or a dull moment to be found. If nothing else, this film won't bore the average viewer. However, when Hackers has been dissected, what's uncovered beneath the flashy skin is an old-fashioned, film-by-numbers thriller.
  84. 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.
  85. Viggo Mortensen looks the part but never brings it home with great conviction or passion. I never believed in the character and that greatly diminished the film's ability to argue its ethical case.
  86. Pride has little to be proud about.
  87. 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.
  88. This movie is a perfect example of what's wrong with many big-budget films today: no characters, no intelligence, and, worst of all, little fun.
  89. From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.
  90. It's not so much a bad movie as it is a pointless one.
  91. 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.
  92. The Canyons is a sleazy soap opera that fails primarily because it gives us no one to care about and no reason why we should be interested that we don't care.
  93. The result is sappy, saccharine, and predictable to the point where it's almost painful.
  94. Nevertheless, given Washington's presence and the promise of a virtual reality action story, Virtuosity has some appeal -- provided, of course, the viewers aren't selective.
  95. Contains multiple ax murders, lesbianism, incest, a hanging, and a storm at sea -- yet, despite all of this seemingly enticing material, it's a bore.
  96. There are problems with De Palma's version, especially in its portrayal of the key relationship between Carrie and her mother, but it's a more engaging and insightful portrayal than Kimberly Peirce's too-slick remake.
  97. Offers slim pickings for viewers, regardless of whether they're fans of Woody Allen or not. And I'm sure the French will love it.
  98. Mad Money is a comedy caper where the caper's not interesting and the comedy's not funny.
  99. 21
    21 doesn't spin a good enough yarn.
  100. Pretty pictures - thats what The Fall has to offer.

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