ReelViews' Scores

  • Movies
For 2,769 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 Goodfellas
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,769 movie reviews
  1. 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.
  2. A maudlin hack-job.
  3. Boring and repetitive.
  4. It's the most disappointing thing to come from the brothers in years.
  5. 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.
  6. Misses the mark.
  7. Welcome to Mooseport's satirical edge is dull and pitted, the screenplay is overlong and uninteresting, the comedy is soft and shapeless, and the actors perform like they're on a sit com.
  8. Twisted is a D-grade thriller with an A-list cast. It's a disappointment from start to finish...But, in the final quarter-hour, it committed the unpardonable sin of insulting my intelligence.
  9. Meet Joe Black has the dubious distinction of being the longest film to date of 1998. It is also one of the most tedious and bombastic.
  10. 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.
  11. 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.
  12. It's not just about a disaster, it is a disaster.
  13. This is film noir for the MTV generation: fast-paced, slick, flashy, gleefully mindless, and hollow to the core.
  14. Unfortunately for the poor viewer trapped into sitting through this 95 minute mess, the humor is both conventional and unfunny, the script never takes any chances, and the ending is a cop-out.
  15. Instead of generating a testosterone rush, the fight scenes release tryptophan. Not only are they boring, but they are choreographed in an amateurish fashion.
  16. The result is an unappealing mess, made less bearable by uniformly lackluster performances and the cheesy special effects.
  17. The Punisher isn't Frank Castle; it's Jonathan Hensleigh. And the punishee is anyone sitting in the audience.
  18. Godsend is godawful.
  19. The level of humor is sit-com-ish at best and the film's dramatic elements are bland and uninvolving.
  20. 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.
  21. By trying to satisfy every kind of viewer, it's possible that Sphere may end up pleasing no one.
  22. 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.
  23. Redundant and unnecessary.
  24. The only thing that distinguishes Species 2 is how awful it is.
  25. 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.
  26. Watching a misfire like Thunderbirds illustrates how impressive the "Spy Kids" movies are.
  27. Code 46 is like "Solaris" without the psychological depth and strong acting. The movie is flat, boring, pointless, and nonsensical.
  28. 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.
  29. The Brown Bunny is one long, self-indulgent bore topped off with a hard-core porn scene featuring Gallo and co-star Chloë Sevigny.
  30. 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.
  31. Can't decide whether it wants to be a black comedy, dumb farce, or sentimental sit-com.
  32. Stay away from Birth not because of what goes on (or doesn't) in a bathtub, but because this is not a very good movie.
  33. Beverly Hills Ninja is essentially a one-joke film.
  34. National Treasure's storyline isn't compelling or coherent enough to warrant the term "plot."
  35. Take away the film's attitude, and you're left with "Son of Van Helsing."
  36. This remake replaces suspense with boredom and witty dialogue with lame lines any self-respecting actor should be embarrassed to utter.
  37. A huge disappointment -- the kind of motion picture that makes you actively angry at the filmmaker for subjecting you to it and stealing two hours of your life.
  38. The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.
  39. 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.
  40. Offensive because it offers little more than unleavened stupidity in the place of the family-friendly action and comedy it promises.
  41. As far as I'm concerned, it's official: Hollywood has lost the art of how to make horror films.
  42. A shallow, transparent satire/social commentary, Palindromes lives and dies on a gimmick.
  43. One can give Ice Cube props for attitude, but not much more.
  44. 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
  45. 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.
  46. Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.
  47. Dirty Deeds boasts a passably entertaining idea that is butchered in the telling.
  48. Only for die-hard Cho fans. Everyone else will be offended, bored, or some combination of the two.
  49. The movie starts cheating the audience early, and never lets up.
  50. Speed 2 can be numbered among the worst second chapters ever made.
  51. 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.
  52. Even children, who will be enthralled by all the puppies, may have a hard time not fidgeting for protracted portions of the running time.
  53. 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.
  54. Tedious and predictable, it employs obvious situations and clich├ęs instead of genuine suspense-building elements.
  55. 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.
  56. 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.
  57. Plagued by moralizing so strident and a style so artificial that the story never has a chance to speak to an audience.
  58. 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.
  59. 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.
  60. 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.
  61. It's all about eye candy and the quick tease. It's not over fast enough.
  62. This is sloppy filmmaking, and it's likely to wipe away whatever luster still remains to Shyamalan's reputation.
  63. 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.
  64. LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.
  65. Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.
  66. Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious.
  67. 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.
  68. This is a mechanical gore-fest that offers preposterous stunts in place of escalating tension and waxwork mannequins in place of marginally interesting characters.
  69. 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.
  70. 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.
  71. 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.
  72. 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.
  73. A movie so inane that it fails to rise to the level of "good trash."
  74. There are stretches when it becomes tedious and insufferably self important. There's even a late scene in which the movie turns preachy.
  75. Yes, this film is worse than "Cliffhanger," Stallone's last venture into chaos.
  76. 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.
  77. The problem with Hostel Part II is the same flaw that afflicted Hostel: no tension.
  78. For all of its existential posturing, Being Human ends up being a rather shallow motion picture.
  79. A tedious, incoherent bore.
  80. Louder, flashier, and more hollow than anything else out there.
  81. It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.
  82. Dull, uninspired, and redundant.
  83. It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated.
  84. By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.
  85. 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.
  86. "Mindless" applies, and Book of Secrets is more like a tame, endlessly repetitive amusement park ride than a motion picture.
  87. Uninspired and painfully familiar.
  88. 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.
  89. 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.
  90. 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.
  91. 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.
  92. 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.
  93. The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.
  94. Humor is subjective, but this movie made me feel as if I had been subjected to something unpleasant.
  95. 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.
  96. The lackluster acting and horrendous dialogue don't help.
  97. There is no truth to the rumor that free frontal lobotomies will be performed at the entrance to all theaters showing Eagle Eye.
  98. Most of the laughs are unintentional, but the result is absurd and laughable.
  99. 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).
  100. 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.

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