ReelViews' Scores

  • Movies
For 3,060 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Inglourious Basterds
Lowest review score: 0 Feast
Score distribution:
3060 movie reviews
  1. 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.
  2. 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.
  3. Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.
  4. Formulated on an idiotic idea and develops a predictably lackluster motion picture from it.
  5. "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.
  6. Failure to Launch fails at more than just launching. It fails at romance and comedy.
  7. Recommended only for die-hard fans of the TV show. Others are advised to wait until this is available in a smaller format.
  8. 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.
  9. Unfortunately, although Blair Witch owes much to the spirit of "The Blair Witch Project," it’s an inferior production. This is as much a result of stylistic and narrative choices as it is a reflection of how the horror landscape has changed in the last 17 years.
  10. 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.
  11. 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.
  12. Is it A Bigger Splash or A Bigger Bore? Despite a strong cast, gorgeous cinematography, and a suffocating sense of sexual tension, this movie takes far too long to get off the ground.
  13. The absence of originality and inspiration isn't Mad City's only problem -- it also suffers from a shocking lack of subtlety.
  14. Once the setup is over, however, Indecent Proposal starts to fall apart, with the implausibilities and contrivances getting worse with every passing minute.
  15. 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.
  16. If you're desperate to give something up for Lent, make it movies like this one.
  17. 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.
  18. 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."
  19. 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.
  20. An effective translation of the source material, but that's not necessarily a good thing.
  21. 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.
  22. The root problem with The Wolfman is that it's a hybrid.
  23. It's watchable, but barely.
  24. The Proposal follows a paint-by-numbers script, it fails one key acid test: it doesn't sell the romance.
  25. This could easily go down as the year's best example of solid acting in a wretched motion picture.
  26. 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.
  27. Wonderful World feels like a modern-day half-baked riff on Charles Dickens' "A Christmas Carol."
  28. The main problem with Coach Carter can be summed up simply: too much sermonizing.
  29. A thrill-less thriller that uses gore to obfuscate its inability to generate tension, this motion picture has the profile one might expect from a direct-to-video release.
  30. It's an orgy for disaster porn devotees.
  31. This is a rare time when young ones will get more out of a Sandler movie than their parents, who may have grown up with him when he was on "Saturday Night Live."
  32. At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.
  33. In the end, Conspiracy Theory fails to work as an action film, a romance, or a mystery -- all of which it aspires to be.
  34. Unfortunately, the final act (the Mexico sequences) illustrate where to take a ghost story if you want to exchange old-fashioned horror for a grilled cheese sandwich.
  35. The movie doesn't come close to the family-friendly comedic pseudo-incest flirted with in "Back to the Future." That, apparently, is deemed too unsettling for today's audiences. So 17 Again none-too-cleverly tap dances around these issues.
  36. The Lazarus Effect begins with an intriguing premise then proceeds to squander all the early goodwill through a slow, inexorable descent into cheap horror gimmicks.
  37. The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.
  38. On balance, I think I'd rather have seen Rocky 15.
  39. In the final analysis, The Expendables is little more than an ordinary, uninspired action feature.
  40. One of Mindhunters' strengths is that it's difficult to guess who the culprit is because Harlin and his screenwriters don't play fair with the audience.
  41. With a cast featuring Ben Stiller, Owen Wilson, Robin Williams, and Ricky Gervais, one has a right to expect something amusing from Night at the Museum. Oddly, not only is the movie unfunny, but it rarely tries for laughs.
  42. Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.
  43. Actually, the more distance the studio places between the two films, the better, because the 1997 production can't hold a candle to the 1973 release, and an attempted comparison only makes the new Bruce Willis/Richard Gere vehicle look worse.
  44. Why bother with wit, intelligence, and emotion when children will be equally entertained by pretty images, colorful action, and the obligatory poop joke?
  45. To be fair, there are occasional moments that succeed dramatically. These are typically the quieter, less histrionic ones.
  46. The movie is uneven in the extreme, to the extent that it feels like two imperfectly wed pictures. The first, while not extraordinary, at least contains some interesting ideas. The second borders on embarrassing: an overblown melodrama complete with coincidence building upon coincidence and plot threads that are left unresolved.
  47. Overlong and at times tedious; the taste is gritty and lingers unpleasantly.
  48. The content is actually pretty bland -- it's not incisive, it's not daring, it's not uproarious, and it's not very good.
  49. Contraband is the kind of thriller that offers just enough in the way of effective elements to assemble a two-minute trailer. When it comes to a 110-minute feature, however, the sketchiness of the plotting and the director's lack of sure-handedness sink the project.
  50. The film provides ample opportunity to attack the MPAA's hypocrisy. Max Payne is a bloodbath, yet it manages a PG-13 rating by keeping the explicitness of the killings just a whisker shy of what would be necessary for an R.
  51. Okay, Wanderlust has its moments. It's sporadically funny - funny enough to deliver a good laugh or two. The problem is, it doesn't do more than that, and the comedy is inconsistent.
  52. The movie isn't so much bad as it is formulaic and uninspired. In some ways, that might almost be a worse sin.
  53. The mismatched blending of Hirschbiegel's low-key horror and the Wachowski Brothers' anything-but-low-key action sequences results in a cinematic dud.
  54. Evans' goal is to do for high school baseball what "Hoosiers" did for high school basketball, but to mention both titles in one sentence is almost an insult to a picture that many rank as the first or second all-time sports film.
  55. A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.
  56. The film clearly wants to be more than just a run-of-the-mill horror-thriller but the allegorical aspects are half-baked and the attempts to mimic Kubrick’s "A Clockwork Orange" and "Eyes Wide Shut" feel more like campy satire than an homage.
  57. Swing Kids has a multitude of problems, the most glaring of which is its loose treatment of history and the Nazis.
  58. This time around, however, the magic has fizzled. Based solely on merit, Now You See Me 2 is a sequel that should never have been made.
  59. It's easily the weakest entry into this ever-expanding category and is inferior to its subtitled source material. Quarantine implies "stay away" and that's not bad advice.
  60. It would be disingenuous for me to claim that Ted 2 isn't funny. Although I was often bored by the plodding direction of the story, I laughed from time-to-time.
  61. The movie ends with a bizarre and unsatisfying denouement. The epilogue, which is designed either to set up a sequel or lampoon "Halloween 2," plays like a sour last note. I suppose someone thought it was clever, but it doesn't work.
  62. Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.
  63. "Twister" is a rush. Dante's Peak, on the other hand, is a bore. Oh, it has its moments, but most of them are concentrated in the final forty-five minutes. The first hour, which is all typical disaster movie setup, is interminable.
  64. There's only so far a movie can go on loud music, nicely-framed shots, testosterone, and adrenaline. Bad Boys takes the often-traveled road, and leads the audience to a dead end.
  65. Whether the core flaw lies in the script or is the result of overly aggressive editing, the final result is offers only sporadic glimpses of the compelling thriller Broken City fails to evolve into.
  66. Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.
  67. Aside from a powerful performance by Ron Rifkin (reprising his stage role) and a few quietly effective scenes, there's not much reason to subject yourself to a film this off-putting.
  68. Dreamer is a kids' movie. It offers the simple black-and-whites of innocence, with no grays to add complexity.
  69. For a mostly brainless movie, The Expendables 3 has a surprisingly dense plot, which is part of the problem. The 2-hour running length is unnecessarily long.
  70. Lacks both a focus and an edge, making it an amorphous mess.
  71. Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.
  72. Warcraft provides the shell of a great fantasy adventure saga but never effectively goes beyond that. This is much more like the bad fantasy of the 1980s and 1990s than the better brand we have recently become accustomed to.
  73. The product is akin to a mediocre '80s sex comedy (with minimal nudity) and "daring" is a descriptor only the most naïve and puritanical would employ.
  74. At 2 1/2 hours, the movie is actually too short to adequately tell the full tale (The Ten Commandments is 70 minutes longer) but that doesn't prevent Scott from presenting multiple, seemingly endless scenes of people crossing deserts.
  75. The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.
  76. Because of the potential of the idea and Cronenberg's reputation as a film maker, it's a real disappointment to watch eXistenZ fall apart the way it does.
  77. The Last Witch Hunter feels like the first episode of a would-be series although, unlike some similar endeavors, it tells a stand-alone story.
  78. Were it not for the high profile names of "Hanks" and "Kasdan", this would be a perfect candidate for a direct-to-video release.
  79. For those who do not consider themselves to be among the Sex and the City faithful, this is a painful experience, perhaps the longest 148 minutes likely to be spent in a movie theater this year. Watching grass grow is more dramatically satisfying.
  80. Jumanji takes approximately one-hundred minutes for four people to play a board game. The result isn't much more fun or involving than watching a few friends play Monopoly.
  81. Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.
  82. The movie wallows in remorse. Not only is the main character paralyzed by it but the filmmakers seem to believe that every Caucasian member of the audience should face up to White Guilt for the way in which the Industrial World has encouraged unrest in Africa so resources could be strip-mined. How's that for an uplifting action movie premise?
  83. One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.
  84. The result, while not horrifically bad, is as mediocre a motion picture as you're likely to find in a multiplex this season. It's tough to hate the movie because it doesn't generate enough emotion for that kind of passion.
  85. This movie is sloppy and disjointed - an unsatisfying melodrama built upon a shaky foundation of contrivances, coincidences, and plot holes.
  86. When the Game Stands Tall is one of those cliché-riddled feel good movies that, by trying too hard to be inspirational, ends up as cloying and overly sentimental.
  87. The final result is an unnecessarily-long thriller that contains far more talking than action. Pakula's direction is lackluster, showing little of the style that permeated his two most impressive pictures, "All the President's Men" and "Presumed Innocent".
  88. This is made-for-TV material dressed up by Eddie Murphy's participation into a theatrical release.
  89. Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.
  90. Mr. Deeds is flat, except on those rare occasions when Sandler reverts to form or when John Turturro steals one of many scenes.
  91. This film mistakes action for energy, ridiculous circumstances for comedy, and a mismatched male/female pairing for romance.
  92. Like much of what transpires during the course of this production, it’s just crass.
  93. Amusing in pieces but, taken as a whole, it offers little, and the morality lesson is galling.
  94. Generic and forgettable.
  95. At an exceedingly long 135 minutes, the film needs more than what might result from the explosion of a Crayola factory, and Speed Racer has nothing extra to offer - no heart, no excitement, no moments to cherish.
  96. "Entertainment" is in the eye of the beholder. For me, watching Fast & Furious 6 was more work than fun.
  97. The November Man feels like just about every B-grade spy thriller that has ever been committed to the silver screen.
  98. While there's no denying that young actress Lindsay Lohan has spunk, she's not terribly effective in the dual role. Her performance is awkward and unsubtle -- she relies on an unconvincing British accent to cue us in to which girl she's playing at any given moment.
  99. This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.
  100. Ultimately, as things develop, this becomes less about revenge than it does about escaping a set-up. A successful production of this sort needs to constantly elevate the stakes as it builds suspense. Seeking Justice fails and that failure makes it a dubious movie-going choice best suited to the low expectations of a video release.

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