ReelViews' Scores

  • Movies
For 2,836 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 Knock Off
Score distribution:
2,836 movie reviews
  1. This isn't just a horror movie with gore - it's a gore movie, period. Blood is its raison d'etre. It's not scary. It's not shocking. It just wallows in viscera. Ho-hum. Pass the ketchup.
  2. Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.
  3. Put simply, this movie is dumb.
  4. Last Action Hero is sporadically entertaining, but it could have been a whole lot more. Trimmed down and better edited, this film might have been a top-notch satire. As it is, however, it gets caught someplace in between action and comedy, and never really comes across as a solid example of either.
  5. There's something a little annoying about a movie that tries this shamelessly to be endearing and family friendly.
  6. 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.
  7. This new interpretation does few things better than the original, and many things worse.
  8. The Holiday is no vacation. Sloppy writing, an overindulgent editor, and poor casting have taken an intriguing premise and transformed it into an uneven mess.
  9. What a waste of a talented cast! There are times when it can be depressing to see so much acting potential wasted on a script unable to elicit the best from its stars, and this is one such occasion.
  10. The story told by Jackson's The Lovely Bones is the same as the one related by Sebold, but it lacks the complexity and empathy evident in the book.
  11. One of those movies in which the principals talk a lot but don't say much.
  12. A somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.
  13. Aside from the inept "August Rush," there probably isn't a more clumsily manipulative motion picture out there this holiday season than P.S. I Love You.
  14. The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés.
  15. As coming of age stories go, Wah-Wah does little to distinguish itself.
  16. Deliver us from directors who think that asking cast members to overact is the only way he can cover us the numerous ludicrous weaknesses of his screenplay.
  17. A horror film that starts out creepy but ends up disjointed and borderline- incoherent. It's a shame that the final product isn't a little better packaged because, unlike many lame entries into the genre, this one actually contains a few interesting, philosophically titillating ideas.
  18. The "Apatow formula" is pretty simple: raunchy comedy, likeable characters, and a dash of sweetness (but nothing too sweet). Drillbit Taylor fulfills the third characteristic but falls short in the other two.
  19. The story's entire foundation is based upon a plot hole so gargantuan that anyone not suffering a brain cramp will identify it at once.
  20. The movie ends up feeling superficial and mechanical. Warhol is a cut-and-dried villain rather than a complex individual.
  21. This is not a good movie but, considering what Halloween has evolved into over the course of seven sequels, it's perhaps better than it has a right to be.
  22. There's no shortage of candidates for the fatal flaw: the artificial storyline; the presence of a ridiculously cliched character; the lack of chemistry between illicit lovers. Blaming one of these problems is probably unfair. The movie's failure is likely based on a fusion of all these, and perhaps a few others.
  23. Some of the dialogue is astonishingly awful. Sex and relationships are constantly likened to animal interaction.
  24. The occasional laughs provided aren't frequent enough or uproarious enough to warrant an investment of nearly two hours of a viewer's time.
  25. The best way to sum up Freddy Vs. Jason is: good concept, mediocre execution.
  26. It's tame and rather bland, and the laughter it generates is half-hearted. Director Jesse Peretz commits the unpardonable sin of wasting the considerable comedic talent of Paul Rudd.
  27. Renaissance Man is a movie of moments, too many of which are mediocre or unfulfilling.
  28. By de-mythologizing Alexander, Stone has turned him into an unbelievable individual. We accept great deeds from great people, not from sniveling whiners.
  29. 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).
  30. As high camp, Willard might have something going for it, but not as a horror movie.
  31. Yes, A Late Quartet is disappointing. But it's also pretty bad.
  32. Despite high production standards and a slick advertising campaign, Primal Fear is as trite and routine as any made-for-TV courtroom drama.
  33. One of the cleverest moments in Sacha Baron Cohen's The Dictator comes during the first five seconds: a memorial dedication to Kim Jong Il. It's all downhill from there.
  34. One of the most positive comments that can be made about Hick is that it advances Chloe Grace Moretz's claim to be one of the best young actresses emerging into today's spotlight.
  35. 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.
  36. The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.
  37. 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.
  38. Saved by energetic musical numbers.
  39. Instead of bringing intriguing characters with real problems and interesting dialogue to the bash, Kaplan and Elfont take the lazy approach of pulling generic stereotypes off the shelf and throwing them into a formulaic plot that doesn't offer one genuine surprise or meaningful moment.
  40. The Pursuit of Happyness is long, dull, and depressing.
  41. Taken as a whole, Mad Dog and Glory is a disappointingly mixed bag. What's on the screen is passably diverting, but I often felt as if I was seeing only half the movie. With this intriguing premise and cast, the film should have offered more complete entertainment.
  42. If not for Bornedal's stylish approach to the material and a couple of effectively chilling sequences, Nightwatch would have been a complete waste of time and effort.
  43. A prefabricated example of shoddy workmanship.
  44. Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.
  45. I have never been a fan of the original Carrie, but, despite the different slant offered by The Rage, there's not enough new material here for me to like the sequel any better.
  46. Several strokes short of a respectable finish.
  47. It is possible to make an engaging action/adventure picture of this sort, but The Scorpion King isn't it. The movie isn't godawful, but it's far from inspired, and, as I sat through its 90 minute running length, I found my mind wandering.
  48. This lame animated fable, despite having "direct-to-video" written all over it, was released by Disney, in an act of unparalleled greed and desperation, into multiplexes.
  49. And, while it's not bad enough for me to suggest that it should have been left where it came from, this certainly isn't a shining example of Australian cinema.
  50. 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.
  51. We have entered generic action movie territory and the idiosyncrasies that made the series special at the outset have been leeched out, papered over, or turned into obligatory inserts.
  52. There's a sense that a much better movie is trying to get out but it never attains escape velocity.
  53. Instead of a satire, they give us a tired, tedious victory-for-the-underdog story, and the unevenness of Ferrell's comedy makes it less appealing.
  54. Unfortunately, much of what's good about Promised Land is easily forgotten as a result of the preachy, impossible-to-swallow final 15 minutes in which the protagonist is subjected to character assassination, the screenplay turns into a sermon, and narrative intelligence is discarded in favor of a message.
  55. Much of the film's comedy feels muted; Fun with Dick and Jane isn't a lot of fun.
  56. The most likely facial expression to be elicited by Mona Lisa Smile is a grimace.
  57. With more attention to detail, this could have worked, but the time travel aspects are so badly executed that the movie as a whole falters and eventually rips apart at the seams.
  58. The storyline is all over the place, with numerous unresolved subplots sprouting out of thin air and being left hanging (presumably to be resolved in future movies).
  59. The dialogue is routine, frequently punctuated by cliches, and the character-building scenes do little more than waste time.
  60. Elements of Across the Universe are shockingly awful and the film lasts at least 30 minutes past the bearable stage. But if you like the Beatles and the idea of hearing about 20 covers of their work fills you with a perverse joy, this may be the movie for you.
  61. Although Shortbus doesn't work as porn (and I don't believe it's intended to), it also doesn't work as a serious drama. The storyline is juvenile and the characters remain poorly developed and incomplete.
  62. Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition.
  63. Che
    What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.
  64. The over-the-top acting is forgivable, but the plot's incoherence is not.
  65. Grumpier Old Men isn't as fun, spontaneous, or amusing as the original. In short, it's a poor retread that can't be redeemed by the pleasure of seeing Lemmon and Matthau together.
  66. The movie doesn't offer enough to make it interesting or even diverting.
  67. Director Brett Ratner has always been associated with spectacle but, even for him, this represents a misstep because the "wow!" factor is muted.
  68. Never representative of more than mediocrity from a technical or story-based standpoint, the Ice Age series has reached a new nadir with its third entry.
  69. There are times when the story behind the making of a film is more interesting than the finished product. This is one of those occasions.
  70. A clear case of a narrative running out of steam. Exhaustingly repetitive, this movie attempts many of the same things its predecessor did but with less succes.
  71. The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.
  72. Instead of being respectful of Bram Stoker's creation, it attempts to remake him as a tragic figure with superhero powers.
  73. The Amityville Horror fails as a movie, but, if you are searching for are a few good scares, you'll find them here.
  74. It's compelling in the way many B-movies are - cheap, sleazy, and lacking the depth we have come to associate with this director.
  75. This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel -- pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue.
  76. There's little here that's new or interesting; the movie is for hard-core Romero devotees only.
  77. Those who love to cry at movies will doubtless get their money's worth from The Man Without a Face. Others, I imagine, will discover in this movie what I did: a curious mixture of scenes that work and situations that seem hopelessly contrived or overly-sentimental. I didn't hate the film, and after the jarring first half-hour, it kept my attention, but The Man Without a Face never strays far from familiar territory.
  78. Quickly causes viewers to lose patience, then interest.
  79. The clumsy and obvious byproduct of the financial success of its predecessor last Halloween, this movie has no reason for existing except to provide Paramount Pictures with a few extra shekels.
  80. Eternal isn't that bad. Actually, it is. But it's kind of fun, too, in a way only cheesy exploitation films can be fun.
  81. This grim, joyless motion picture is anything but fun. It’s a chore to sit through, with all the blazing, noisy pyrotechnics proving unable to lighten the mood.
  82. Four Christmases is waste of time and a disappointment, but it's also relatively painless.
  83. It lacks the simple elegance and intelligence of the earlier film, and employs special effects and pointless action scenes to replace passages of dialogue.
  84. The end product feels trite and unfinished, with the romantic plot being awkwardly and unconvincingly shoehorned into a production that lacks focus.
  85. The limp movie seems to be an attempt by an Australian to mimic a bad American romantic comedy, and, unfortunately, he succeeds admirably.
  86. The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.
  87. Mechanical and artificial, and tells you what to think.
  88. Those who love Robert Rodriguez's over-the-top Grindhouse-flavored spoofs will delight in this one but, ultimately, this is probably one Machete too many.
  89. Doomsday tries to cram so much into its limited 105 minutes that aspects end up feeling rushed and confused (especially the political situation in England) and the ending is perfunctory.
  90. A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.
  91. Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.
  92. Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.
  93. Taken 2 is more of the same, except a little bigger, a little dumber, and a little less invigorating.
  94. The film's disappointingly black-and-white approach robs characters and situations of badly needed ambiguity.
  95. Not an abomination, although it is uninspired and insipid. As such, it's perfect television fare.
  96. Science fiction fans will feel gypped, disaster movie fans will appreciate about 10 minutes of screen time and be bored by the rest, and no one else will care.
  97. "Compelling" is a word one could apply to Jobs - he was a magnetic figure - but it doesn't describe this movie. "Average" might even be a stretch, and that's something of an insult to the man whose story it tells.
  98. Just because it's not boring, that doesn't mean it's worth plunking down the price of admission.
  99. Call Project Almanac a "shaky-cam special", and it's a damn shame. The resultant production, both shaken and stirred, transforms a potentially entertaining pulp time travel story into a misbegotten exercise in frustration.
  100. Never boring. It is, however, frustrating.

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