ReelViews' Scores

  • Movies
For 2,859 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 Captivity
Score distribution:
2,859 movie reviews
  1. It's disposable entertainment at its most extreme.
  2. Yes, the film is interesting, but it doesn't work.
  3. The problem here isn't as much the talent in front of the camera as it is the weak and hackneyed script. Vampire in Brooklyn is in need of an infusion (or should that be transfusion?) of originality and creativity -- two qualities that are blatantly absent.
  4. Tammy is a road trip movie and, like many road trip movies, it embraces a meandering, aimless tone. It's often said for films of this sort that it's the journey that matters, not the destination. Unfortunately, in this case, neither is worth the price of admission.
  5. A kinetic, visually dazzling thriller that's actually a notch above many of its predecessors - albeit only a small notch.
  6. Red Dragon is done in a painfully mechanical, by-the-book manner. Scenes are assembled to move the plot from point A to point B. There's no atmosphere. No tension. Flat performances. All of these problems are rightfully laid at the feet of the man in charge.
  7. With each death, the film becomes less interesting. By the end, it's just a routine slasher flick with a too-predictable final "twist."
  8. Despite a strong opening and riveting first 45 minutes, The Maze Runner devolves into one of the weakest post-apocalyptic Young Adult movies to reach theaters in recent years.
  9. It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.
  10. It has an interesting subtext. I'm referring to the way the lives and friendships of these four individuals crumble in the wake of their accident.
  11. The best segments of the film occur early, as the setting is established with a dose of "Friday Night Lights" normalcy followed by an invasion that recalls "Independence Day."
  12. It's only possible to have the time of your life once, and, for this franchise, that was in 1987.
  13. Die-hard fans are advised to wait for the video. Everyone else would be better off pretending that this movie doesn't exist. In the long run, you'll have a higher opinion of everyone involved.
  14. Entirely inoffensive, so it makes for perfect family fare -– but only if the children are young enough to be indiscriminating about what they're seeing.
  15. Too much in Nacho Libre doesn't work to enable me to recommend it to anyone except a card-carrying member of the Jack Black fan club.
  16. Saying bad things about Never Been Kissed, an unapologetic crowd-pleaser, makes me feel like the Grinch stealing Christmas, but there are some things that can't be ignored.
  17. It's tough to make a good tearjerker - one need look no further than this misfire to understand why.
  18. A little like watching an episode of the TV show of which Adam Sandler is an alum: "Saturday Night Live." Zohan feels like an extended collection of skits tied together by a flimsy umbrella story.
  19. With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.
  20. The movie's central flaw: it's not funny enough to be worth the price of admission.
  21. The acting is a big part of Baghead's problem. Three of the four protagonists are played by performers who do little to distinguish themselves.
  22. Starts out as an effective little horror movie before devolving into an incoherent mess during its final 30 minutes.
  23. The only time Sparkle evidences energy is during the song performances, of which there are too few. The half-baked melodrama provides an unappealing and overlong buffer between them that fails to justify the nearly two-hour running time.
  24. Various subplots are given short shrift and the whole thing feels more like a Cliff's Notes version of a longer piece than an actual finished motion picture.
  25. Coscarelli's screenplay introduces an abundance of intriguing concepts but never goes very far with any of them. The characters are paper thin and the special effects are laughably bad.
  26. On a purely narrative level, Winter's Tale missteps early and often. Its earnestness is its downfall, resulting in opportunities for unintentional humor.
  27. A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.
  28. Although Sinister 2 continues the story begun in Scott Derrickson's creepily effective "Sinister," it feels more like an unnecessary retread than an organic extension of the original.
  29. Insurgent is more clumsy than bad, but it disappoints because it wastes the world-building of Divergent, which set the stage for something more momentous than what the sequel delivers.
  30. This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.
  31. Inept storytelling is one of Lords of Dogtown's great frustrations.
  32. This sloppy mess also pales in comparison to the better-paced, taut "Olympus Has Fallen," which represents 2013's better White House invasion story.
  33. 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.
  34. The film has energy but isn't well paced. Nothing about it quite gels.
  35. Laws of Attraction is a standard-issue romantic comedy that's missing a key ingredient: the attraction.
  36. The sloppiness of the ending doesn't only damage The Black Dahlia, it sinks the project.
  37. If movies were rated solely on the basis of style, The Quick and the Dead would score highly indeed. With its dazzling photography, inventive camera angles, and throbbing bass score, the film is an experience for the eyes and ears. Director Sam Raimi and cinematographer Dante Spinotti have woven a beautifully elaborate tapestry: colorful and evocative -- and depressingly two-dimensional.
  38. Turns out to be hopelessly mediocre -- a poorly scripted, preachy fable that forgets about unfolding a coherent, believable story in its zeal to spread propaganda.
  39. The end result, while it provides moments of kinetic entertainment, is too repetitive and uneven to be satisfying.
  40. If nothing else, Entourage (the movie) can be considered a faithful follow-up to Entourage (the TV program). That's good news for anyone who enjoyed the series up to the end and not-so-good news for those who lost interest along the way or never were interested in the first place.
  41. As far as the actors are concerned, Liam Neeson seems to be having fun hamming it up as the villain - a role he rarely gets to play.
  42. Beneath its aw-shucks, wants-to-be-liked exterior, this is a bankrupt motion picture. It's cloying, artificial, and not the least bit romantic.
  43. A tepid affair, distinguished by bland character development, uninspired and insipid dialogue, and a nonexistent plot.
  44. The film has two highlights -- a profanity-laced monologue by Peter Falk about boxing and the one-on-one confrontation between Monroe and Chambers in the ring.
  45. Two fundamental problems afflict Sex Tape (aside from the fact that it's not consistently funny): a shocking ignorance about the state of modern technology and a mistaken belief that the subject matter is inherently edgy.
  46. A fast-food type of movie - it looks good in the commercials and is easy to sit through, but it doesn't offer much in the way of satisfaction.
  47. This is a joyless experience made all the sadder because most viewers still remember the naughty delights delivered by "American Pie."
  48. There are moments when The Relic is almost enjoyable, albeit in a visceral sort of way. Unfortunately, when all is said and done, this horror/science fiction amalgamation seems like nothing more ambitious than a bad reworking of elements from Aliens, Species, Jaws, and Predator.
  49. Smokin' Aces is Tarantino lite - a vague and unsuccessful attempt to bring together a bunch of offbeat, unrelated characters in a situation where a bloody resolution is inescapable.
  50. This is easily the worst filmed version of anything penned by the prolific author.
  51. The scares (if you want to call them that) are still there - one "boo!" moment after another, strung together like a breadcrumb trail through a labyrinth. So if that's all you want from a Halloween release like Paranormal Activity 3, you are the perfect audience member.
  52. This is schlock -– by-the-numbers action that ignores character development to the point where we find it hard to care whether L.T. catches Hallam.
  53. 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.
  54. It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie.
  55. Strange that a movie about comedy is so lacking in this quality.
  56. This is a train wreck of an action film -– a stupefying attempt by the filmmakers to force-feed James Bond into the mindless "XXX" mold and throw 40 years of cinematic history down the toilet in favor of bright flashes and loud bangs.
  57. This is essentially a Steven Seagal movie without the Ponytailed One, and may appeal to those who enjoyed Seagal's rather bland, cookie-cutter action films.
  58. An insipid, stillborn drama that drags its viewers through a ghetto of despair before finally, unexpectedly plopping them down in the midst of a happy ending.
  59. Although each episode might be marginally entertaining in its own right, the overall effect is that the movie isn't funny enough, exciting enough, or dramatic enough to warrant two hours of an audience member's time.
  60. At least the werewolves in Red Riding Hood have teeth and, when in human form, they don't parade around shirtless.
  61. Disappointing, but barely watchable.
  62. Director Todd Haynes' (Safe) much-anticipated look at the "glam rock" scene of two decades ago, is like a jigsaw puzzle with half of the pieces missing.
  63. The first film was significantly better and, therefore, is the place to start for anyone with a modicum of interest. Underworld: Rise of the Lycans is an also-ran that is likely to be appreciated only by completists.
  64. Too much of what The Spy Who Shagged Me has to offer is tired and derivative, and, when the various jokes and gags are tallied, there are many more misses than hits.
  65. Besson may have misfired with The Fifth Element, but at least he does it with flair and a sense of humor.
  66. With a movie of this sort, the viewer expects to undergo something grueling and disturbing. Trade's inability to deliver that sort of visceral experience makes it unworthy of anyone's hard-earned dollars.
  67. Pretty much a one-trick pony, and, after a while, that trick loses its ability to impress.
  68. It takes something lackluster like The Amazing Spider-Man 2 to remind viewers why movies like "Captain America: The Winter Soldier" are considered superior.
  69. Takes the action/adventure story to new heights of preposterousness. In a way, that's not a bad thing, since it allows a certain level of guilty enjoyment.
  70. Perhaps the thing that most surprised me is how fingernails-on-blackboard awful the music is.
  71. The biggest flaw of the 1990 Total Recall was how disappointingly banal the endgame was. Wiseman adds some special effects and Michael Bay-style pyrotechnics, but the result is similar. It's doubly deflating because one of the great advantages of remaking a movie is being given the opportunity to correct problems - something not attempted here.
  72. Takes things too far by leaving about 75% of its questions unanswered. This isn't an artistic choice; it's screenwriting sloppiness, and it results in a profoundly dissatisfying experience.
  73. The movie is replete with bloody encounters, sly asides, and one-liners, but the tone is awkward and uneven. There are also some serious structural problems that we're supposed to brush aside.
  74. The most intriguing aspects of Extraordinary Measures relate to the behind-the-scenes politicking that goes on to keep the drug development on track, although the screenplay cheats toward the end (presumably because of time constraints and a concern that too much detail might bore audiences).
  75. A lot of what's intended to be funny falls flat, in part because it's too obvious and in part because director Steve Pink is clumsy when it comes to comedic timing.
  76. Hitman: Agent 47 might offer a passable diversion for action junkies but, for everyone else, it's best avoided.
  77. Joe Eszterhas' screenplay doesn't make sense, and he doesn't bother to hide this fact. In the end, Basic Instinct teases and screws us with the same efficiency that the film's femme fatale handles the protagonist.
  78. The plot is straightforward and predictable to the point of painfulness.
  79. The Sitter is sort of an "Adventures in Babysitting" with a potty mouth.
  80. We believe the dislike at the onset but not the romance at the payoff. And that's a major flaw.
  81. Since the stunts are sub-par and feature considerable computer help, the movie gives the impression that it's trying too hard to be campy and silly.
  82. In the end, you have to possess a sweet spot for Black and his antics to find Tenacious D more than barely watchable.
  83. 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.
  84. Relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.
  85. 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.
  86. Mediocre and recommended only to those who can claim a familiarity with the play.
  87. There's nothing in The Guardian that audiences haven't previously been exposed to ad nauseam.
  88. 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.
  89. Wassup Rockers is amateurish, but without the redeeming qualities found in "Kids" and "Bully."
  90. Considering the talent involved and the strength of the source material, there's no way Edge of Darkness should have been this disappointing. Part of the problem is a direct result of condensation - there's no way to cram six hours of the dense mini-series upon which the movie is based into about 110 minutes without paying a penalty.
  91. A major misstep and a disappointment of significant proportions. It may not be a failure for Eastwood the actor, but it's a big one for Eastwood the director.
  92. A stillborn affair that could have been -- and should have been -- a whole lot hipper and funnier. If you've seen the two- minute theatrical trailer, you've seen nearly everything that's worthwhile in the feature.
  93. Its failure to live up to even modest expectations is a blow. There's nothing righteous to be found here.
  94. 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."
  95. Pompeii is a big, glorious, cheesy mess.
  96. Pretty Persuasion reminds me of a half-hour TV series that has a great pilot episode, then falls apart in subsequent installments. Movies need to grow and change to keep things interesting; this one is stagnant.
  97. 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.
  98. A dull, meandering storyline and visuals all-but destroyed by a second-rate 3-D conversion make this movie inferior to its predecessors.
  99. Someone please get director Ric Roman Waugh a tripod! Snitch might be a passable action-thriller but it's hard to say because every time an action scene comes along, the image shakes so badly it's impossible to keep anything in view or focus.
  100. Dark Shadows is a mess, and it's unclear whether its bizarre recipe of comedy, campy horror, and gothic melodrama will satisfy anyone, regardless of their familiarity with the source material.

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