ReelViews' Scores

  • Movies
For 2,720 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Lord of the Rings: The Return of the King
Lowest review score: 0 A Hole in My Heart
Score distribution:
2,720 movie reviews
  1. Dirty Deeds boasts a passably entertaining idea that is butchered in the telling.
  2. Only for die-hard Cho fans. Everyone else will be offended, bored, or some combination of the two.
  3. The movie starts cheating the audience early, and never lets up.
  4. Speed 2 can be numbered among the worst second chapters ever made.
  5. 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.
  6. Even children, who will be enthralled by all the puppies, may have a hard time not fidgeting for protracted portions of the running time.
  7. 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.
  8. Tedious and predictable, it employs obvious situations and clichés instead of genuine suspense-building elements.
  9. 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.
  10. 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.
  11. Plagued by moralizing so strident and a style so artificial that the story never has a chance to speak to an audience.
  12. 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.
  13. 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.
  14. 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.
  15. It's all about eye candy and the quick tease. It's not over fast enough.
  16. This is sloppy filmmaking, and it's likely to wipe away whatever luster still remains to Shyamalan's reputation.
  17. 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.
  18. LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.
  19. Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.
  20. Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious.
  21. It's hard to imagine anyone having the patience to sit through this movie except perhaps a handful of 11-year old boys seeking vicarious wish fulfillment.
  22. This is a mechanical gore-fest that offers preposterous stunts in place of escalating tension and waxwork mannequins in place of marginally interesting characters.
  23. Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.
  24. 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.
  25. Wild Hogs is more tired, worn out, and sagging than its protagonists - an arthritic comedy whose humor is below mediocre and whose drama is cringe-worthy.
  26. It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.
  27. A movie so inane that it fails to rise to the level of "good trash."
  28. There are stretches when it becomes tedious and insufferably self important. There's even a late scene in which the movie turns preachy.
  29. Yes, this film is worse than "Cliffhanger," Stallone's last venture into chaos.
  30. 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.
  31. The problem with Hostel Part II is the same flaw that afflicted Hostel: no tension.
  32. For all of its existential posturing, Being Human ends up being a rather shallow motion picture.
  33. A tedious, incoherent bore.
  34. Louder, flashier, and more hollow than anything else out there.
  35. It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.
  36. Dull, uninspired, and redundant.
  37. It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated.
  38. By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.
  39. 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.
  40. "Mindless" applies, and Book of Secrets is more like a tame, endlessly repetitive amusement park ride than a motion picture.
  41. Uninspired and painfully familiar.
  42. 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.
  43. 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.
  44. 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.
  45. 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.
  46. This unexceptional and uninteresting story of a self-pitying borderline-personality teenager verges on being unwatchable as a result of McDonald's decision to bombard the audience with extraneous images in lieu of telling the story.
  47. The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.
  48. Humor is subjective, but this movie made me feel as if I had been subjected to something unpleasant.
  49. 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.
  50. The lackluster acting and horrendous dialogue don't help.
  51. There is no truth to the rumor that free frontal lobotomies will be performed at the entrance to all theaters showing Eagle Eye.
  52. Most of the laughs are unintentional, but the result is absurd and laughable.
  53. 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).
  54. A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.
  55. 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.
  56. The movie has little to recommend it and more than a few things to encourage those who pursue quality cinema to stay away.
  57. The breath of fresh air, to the extent that one can be identified in the staleness of this recycled refuse, is John Cleese.
  58. 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?
  59. Perhaps the strangest thing about 2012 is that the bad parts of the film are among the most enjoyable, because they're so over-the-top ridiculous that it's impossible not to break out laughing.
  60. Of course, the problem with Angels & Demons is that to get to the final 40 minutes, it's necessary to endure the first 90, and that would be defined as cruel and unusual punishment.
  61. Echelon Conspiracy is a more evocative title than a movie this stupid deserves.
  62. Boring and uninspired, this movie gives ghost stories a bad name.
  63. The Informers is nihilism for nihilism's sake; a bleak and borderline-unwatchable collage of misanthropes, self-absorbed a**holes, and pathetic weaklings as they struggle to move forward during the early 1980s in Los Angeles.
  64. I wonder if Gamer might make a good game; it certainly doesn't make a good movie.
  65. I found the most extreme material to be so tasteless that it voided all comedy.
  66. A turd of T-Rex proportions, Land of the Lost makes one remember last summer's "Speed Racer" fondly.
  67. The storyline is so infantile that it will appeal to young kids.
  68. 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.
  69. 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.
  70. Sluggish. Torpid. Boring. Those three words (and more) can describe The Yellow Handkerchief, a stultifying road trip movie whose inept screenplay is only partially counterbalanced by a trio of nice performances.
  71. Newell has followed up a respectable adaptation of a Harry Potter novel with an ignominious translation of something more delicate and literate. It's hard to recommend this movie to anyone except perhaps the MST3K crew.
  72. Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."
  73. 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.
  74. 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.
  75. Cloying and at times annoying, Life as We Know It is egregiously manipulative, whoring itself out for a few unearned tears.
  76. This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.
  77. The only arena in which Gulliver's Travels plays an adequate game is in visual effects.
  78. Season of the Witch teeters on the edge of slipping into the "so bad it's good" camp, but ultimately ends up being merely bad.
  79. Akin to watching a bad sit-com that never ends.
  80. The recycling goes as deep as the dialogue, which is a mangled and blended refrain of clichés.
  81. 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.
  82. Did You Hear about the Morgans? Yes and, to be perfectly frank, I wish I had been spared the experience.
  83. LaBeouf, who appeared to hit a low in "Indiana Jones and the Kingdom of the Crystal Skull," has sunk to greater levels of incompetence here.
  84. The 2011 version of Conan the Barbarian looks cheap and feels rushed. The few good elements are dwarfed by a generic, nonsensical plot and shoddy storytelling.
  85. 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.
  86. The only reason any male could have for seeing The Vow is the hope of getting laid afterwards. The only reason any female could have for seeing The Vow is if she views the plots of Harlequin romance novels as the height of modern storytelling.
  87. 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.
  88. 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.
  89. Those who don't understand what it means for an actor to "sleepwalk" through a performance need only watch Men in Black III; there's no shortage of examples.
  90. It's either a failed experiment or a movie that was rushed through production so Allen could fulfill his one project-per-year commitment.
  91. The Watch is a studio turd marinated in eau de skunk that stinks worse than week-old fish.
  92. A slow, meandering misfire of a movie.
  93. A preposterous thriller where the only thing more disappointing than the ending is the 93 minutes it takes to get there.
  94. 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.
  95. Everything in G.I. Joe: Retaliation is perfunctory - technically proficient but soulless. It's not exciting. It's boring.
  96. To work, The Host would have required a visionary interpretation rather than the mundane telling that Niccol opts for.
  97. It's tired and dated with too few laughs to justify the stultifying attempts at drama and the impossible-to-swallow plot contortions.
  98. "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.
  99. 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.
  100. 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.

Top Trailers