ReelViews' Scores

  • Movies
For 2,866 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 Wizard of Oz (re-release)
Lowest review score: 0 Knock Off
Score distribution:
2,866 movie reviews
  1. 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.
  2. "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.
  3. Just because it's not boring, that doesn't mean it's worth plunking down the price of admission.
  4. 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.
  5. Never boring. It is, however, frustrating.
  6. Artificial in both its dialogue and its construction, the film only works - on those occasions when it works - because of the sincere performance by the underrated Toni Collette.
  7. A grim experience, with too little wit and humor to compensate for its faults, and the upbeat ending feels like a cheat. Thornton is good, but not worth the price of a ticket.
  8. There's nothing in Alex Cross that argues another installment is warranted, but much will depend on whether Tyler Perry's audience crosses over and continues to follow him in this new, very different role.
  9. The premise is inherently interesting, but the screenplay (by Glen & Les Charles) is unwilling to take chances. Instead, it uses stock events to push events forward.
  10. It's a muddled, meandering affair without a thesis or a point to prove.
  11. The Santa Clause isn't an unmitigated disaster, but it's also a whole lot less impressive than it could be.
  12. The resulting finished project is a series of skits performed by famous people doing favors for a friend, and it works about as well as one might expect from such an endeavor.
  13. About as frightening as Walt Disney's Haunted Mansion.
  14. Designed with Underworld fans in mind. Others need not apply.
  15. The Clone Wars is the last nail in a coffin that has been propped up ever since George Lucas sold his creative soul in the quest for a few more pieces of gold.
  16. This is the film to watch when pretty much everything else has been sold out and the only remaining choices are The Back-Up Plan and the latest Rob Schneider opus.
  17. As a movie, On Stranger Tides would have to be considered a failure. The story does not engage, the characters are stick figures, the action sequences are perfunctory, and the whole enterprise reeks of being a money-grab.
  18. There are lengthy stretches during this movie when it's deadly dull. This is the kind of film that's ideal for DVD viewing. Judicious use of the fast forward button will greatly increase The Ten's appeal.
  19. This time, it's not because mainstream movie-goers in this country lack taste but because the film isn't worth buying a ticket to see. Mr. Bean's Holiday is no vacation.
  20. The result is a poorly-focused motion picture characterized by limp satire and capped off by a final fifteen minutes that could send half of the audience into sugar shock.
  21. From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.
  22. In crafting an insider's perspective, Jaglom has done an effective job. It's too bad that nearly everything else fails.
  23. A sloppy, poorly focused comedy.
  24. The result is not entirely uninteresting, but it suffers from some ill-advised decisions. In fact, the film's "hook" may be its greatest detraction.
  25. The storyline is at times muddled and incoherent. This won't bother readers much since they have the "inside track" on what's happening. Then again, the narrative is so predictable that maybe it doesn't matter.
  26. Criminally underwritten characters result in actors like Hugh Jackman, Sigourney Weaver, and Dev Patel (Slumdog Millionaire) having little to do.
  27. Despite its name, Beautiful Girls is actually about a group of irritating, twenty-something males whose adolescent attitudes have remained with them well into adulthood.
  28. One of the year's most uninspired inspirational stories.
  29. Confetti is an excellent study of what happens when someone botches Christopher Guest's mockumentary format.
  30. This is a character we have seen a million times before and Eastwood brings little that's new or original to the part. The movie as a whole can be labeled with the same criticism.
  31. It worked once, but the novelty factor is gone. The cheese is still there, but this time it's overlaid with a cynical sense that the only reason the movie exists is because the first one made so much money.
  32. For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.
  33. The film is too light and juvenile to be viewed as some sort of darkly subversive satire in which the director is laughing at those of us who take it all semi-seriously.
  34. Aloha is Crowe's worst film-to-date, eclipsing "Elizabethtown" for that distinction and raising questions about whether the director has lost his touch (á là Rob Reiner).
  35. This is the kind of movie that isn't even worth renting when it comes out on video because, with the possible exception of Michael Lerner and Omar Epps dancing to show tunes, you've seen it all before.
  36. Comes across as a cheesy, fundamentally unsatisfying experience.
  37. It's dull, childish, and uninspired.
  38. Chock full of high-tech action, with a lot of chasing and shooting and explosions.
  39. It's an excursion into a melodramatic morass that occasionally becomes difficult to sit through because it's so cloying.
  40. The latest motion picture to take an intriguing premise and flush it into the septic tank.
  41. Jack Reacher has the distinction of being little more than it initially appears to be: a clumsily condensed mystery/thriller novel made into a movie that offers little more than every other clumsily condensed mystery/thriller novel made into a movie.
  42. The material isn't sufficiently funny to allow me to forgive the film's feeble storyline and two-dimensional inhabitants.
  43. Haphazardly plotted, it not only falls prey to absolute predictability but chooses to have nearly every important conversation (except one) occur off-screen. That sort of laziness is unacceptable and results in a strong sense of audience dissatisfaction.
  44. The inevitable twist ties things neatly together before leading to a confusing, borderline-indecipherable ending that fails to satisfy on a number of levels.
  45. It's easy to be cynical about a movie like this which, despite its factual basis, is more product than story. The pandering is obvious.
  46. Child 44 is a victim of poor adaptation. It is beset by problems related to flow and coherence; the narrative is confusing, the characters are provided with inadequate time for development, and dead-end subplots abound.
  47. A second-rate regurgitation of "The Lord of the Rings." Everything about it, down to the set and costume design, apes Peter Jackson's epic trilogy. However, while "The Lord of the Rings" was a grand story of scope and power, In the Name of the King feels small in more ways than one.
  48. At its best, Ride Along is tolerable. At its worst, it borders on insulting.
  49. With 3-D, a little goes a long way and, in the absence of a legitimate script with credible characters, the fun dries up long before the running time has expired.
  50. Whatever the reason, the waning months of 2014 have brought us the follow-up to 1994's "Dumb and Dumber", but the lengthy gestation period hasn't resulted in an appreciably upgraded experience.
  51. It's not the unevenness of the comedy that kills Welcome Home Roscoe Jenkins but the illegitimacy of the drama.
  52. As a shoot-'em-up, blast-'em-to-pieces film, it's not half bad. As a futuristic time travel movie, however, it has some very serious problems.
  53. Unfortunately, where the movie falls apart is in the storyline. While Spawn fans may be delighted by this effort, the uninitiated may have a hard time getting beyond the fancy special effects and often-incoherent plot.
  54. As a piece of religious instruction or an animated version of a crèche, it accomplishes its aims. As a movie, however, it's slow, plodding, and not terribly interesting.
  55. The problem with the movie, whose title compresses "religious" and "ridiculous" into a single word, isn't that it milks more than one sacred cow but that it does so with minimal subtlety and intelligence.
  56. At least Jessica Alba's legion of fans will have something to smile about. If nothing else, Helfrich has shown her in the best light. If only there was something worth seeing here other than her.
  57. The most disappointing aspect of The Iron Lady is that some of the most memorable hallmarks of Thatcher's time in power are glossed over.
  58. The biggest flaw can be summed up in a short phrase: lack of excitement. Thrillers are supposed to be crammed with thrills (hence the name), but Anaconda is relatively barren of them.
  59. There's not a moment of originality in the entire motion picture.
  60. For those with a burning curiosity to know how "The Lord of the Rings" as directed by Michael Bay might look, Wrath of the Titans provides an idea. This is epic fantasy for teenage boys as only Hollywood can do it: with plenty of grotesque monsters and big explosions replacing characters and narrative.
  61. To go with the good, there's plenty of bad, and it comes in the form of countless gags that misfire, far too much flatulence and urine, and (God help us) a buck naked Leslie Nielsen. Admittedly, that scene certainly puts the "scary" in Scary Movie 4.
  62. 70 minutes into the 90-minute process, I was engaged. Then it all collapsed.
  63. It's harmless. And pointless. And dumb. This is a perfect example of a motion picture that exists exclusively because its predecessor made a lot of money.
  64. This movie is the worst kind of offender: it thinks its funny and clever, but it is neither. The filmmakers have mistaken banality for wit and silliness for humor, and that doesn't begin to address how visually clunky this motion picture is.
  65. After a strong start, Stop-Loss becomes driven by a series of contrivances before falling prey to bad melodrama and even a little cheesiness.
  66. With its hackneyed plot, feeble attempts at characterization, and predictable finale, the second half of Independence Day becomes an extremely dull and lifeless affair.
  67. An inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength.
  68. The result makes the movie seem assembled from bits and pieces of other superhero yarns rather than existing on a plane of its own.
  69. Death of a President is celluloid mediocrity. It's neither interesting nor convincing.
  70. Stargate is peppered with numerous minor faults, some of which - although not all - are easily forgiven. It's the bigger plot problems and lackluster climax which are more difficult to excuse.
  71. Getaway is pretty much a 90-minute car chase. That's it.
  72. The movie, however, seems to make the wrong decision at almost every opportunity, trying for the kind of melodramatic tragedy that only works in opera.
  73. In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.
  74. At least the set design and costumes are excellent. The movie feels overstuffed and undercooked but it always looks nice.
  75. As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.
  76. Cursed with two of the least interesting bad guys in recent memory. While McGivens and Armand are unquestionably villainous, there's nothing about them to cause audiences to hiss. They're boring.
  77. Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.
  78. Formulated on an idiotic idea and develops a predictably lackluster motion picture from it.
  79. "Labor" isn't just a word in the title of Jason Reitman's new film, it's a description of what it feels like to sit through the movie.
  80. Failure to Launch fails at more than just launching. It fails at romance and comedy.
  81. Recommended only for die-hard fans of the TV show. Others are advised to wait until this is available in a smaller format.
  82. The film's comedy is lackluster, with supporting actors Nathan Lane and Sean Hayes (as Tad's manager and agent) providing a few mildly amusing moments that would be at home in a sit-com.
  83. The visuals of a blasted city are impressive but hardly reason to spend $10 to sit in a theater seat and watch a bunch of underdeveloped characters get chased by zombies for an inordinate amount of time.
  84. This movie desperately wants to be liked. The problem is, there's not much here to like -- at least nothing that's new or interesting.
  85. The absence of originality and inspiration isn't Mad City's only problem -- it also suffers from a shocking lack of subtlety.
  86. Once the setup is over, however, Indecent Proposal starts to fall apart, with the implausibilities and contrivances getting worse with every passing minute.
  87. Tobey Maguire is fine as Nick but his function is more as an observer than a participant. Carey Mulligan's Daisy is unremarkable in every way. And Joel Edgerton is just a mustache twirl away from doing a Snidely Whiplash impersonation.
  88. If you're desperate to give something up for Lent, make it movies like this one.
  89. It's moderately engaging for the first half-hour, somewhat trying during the second half hour, and virtually unbearable over the final twenty minutes. It's a marginally recommendable film for kids, but not necessarily for parents.
  90. Words cannot express how weary I am of watching lifeless, hollow movies like My Life in Ruins - generic romantic comedies that have no clue when it comes to either "romance" or "comedy."
  91. The comedy is mostly restricted to one-liners, some of which aren't funny. And the action is uninspired, barely tapping the vast potential of an amusement park chase film.
  92. An effective translation of the source material, but that's not necessarily a good thing.
  93. Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.
  94. The root problem with The Wolfman is that it's a hybrid.
  95. It's watchable, but barely.
  96. The Proposal follows a paint-by-numbers script, it fails one key acid test: it doesn't sell the romance.
  97. This could easily go down as the year's best example of solid acting in a wretched motion picture.
  98. Although the film is clearly trying to follow in the footsteps of the Beatles' classic, it's several long strides behind, lacking the same sense of originality, spontaneity, high energy, and joi de vivre.
  99. Wonderful World feels like a modern-day half-baked riff on Charles Dickens' "A Christmas Carol."
  100. The main problem with Coach Carter can be summed up simply: too much sermonizing.

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