ReelViews' Scores

  • Movies
For 3,049 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 Dekalog (1988)
Lowest review score: 0 Captivity
Score distribution:
3049 movie reviews
  1. A plot that insults, betrays, and cheats every member of the audience. Stupidity to a degree can sometimes be forgiven. Stupidity to this degree can not and should not.
  2. Probably best skipped - unless you have a penchant for shallow, "comfortable" foreign films that offer obvious messages and never attempt to challenge the viewer.
  3. On the whole, Star Trek V is a highly forgettable motion picture, regardless of whether you're looking at it from the perspective of a Trek lover or a movie-goer.
  4. Once it gets beyond a hard-to-swallow setup and into the meat of its story, Boxing Helena is surprisingly involving...The movie discloses its terms early, and expects the audience to buy into them, making no apologies for what it is or intends to be.
  5. A lackluster melodrama with only a few inspired moments.
  6. After a promising beginning, this movie crashes and burns.
  7. The delicate air of romance that often makes this sort of film worthwhile is absent. French Kiss does it by the numbers, not from the heart.
  8. Sleeping Beauty is one of those self-consciously artsy motion picture that promises more than it delivers.
  9. A shift in tone to something like "Kingsman" might have made this a more entertaining experience.
  10. The movie feels like a vanity production, although it's difficult to determine whose ego is being stroked by this expensive adaptation.
  11. The Long Day Closes is very much the visual equivalent of a verse or a poem: beautiful images, but no narrative.
  12. A mess of conflicting tones and missed opportunities. The only one to emerge unscathed is Kate Hudson, who exhibits qualities she has rarely shown since her breakthrough role in "Almost Famous."
  13. This is not a story that cries out to be remade every 15-20 years. And, while the special effects and acting are getting better, the story isn't.
  14. As punchy and energetic as the first few moments are, the rest of the film quickly falls back into mediocrity.
  15. This is a lame psychological thriller with an obvious story trajectory. It's a wannabe film noir with no atmosphere whatsoever.
  16. Despite being largely uninspired, the dialogue is peppered with enough profanity and salacious comments to keep the undiscriminating interested.
  17. The biggest problem with Law Abiding Citizen, however, is that the plot is just plain dumb.
  18. Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.
  19. Not without humor, but it lacks the explosive spontaneity of "The Hangover."
  20. Even as a mindless diversion, it's weak.
  21. Lawrence is often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.
  22. Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.
  23. Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.
  24. The chief pleasure of High Crimes (and it's a limited one) comes from watching Morgan Freeman, who can bring a sense of integrity to even the silliest thriller.
  25. The real problem with Desperado, however, is that this sequel is without purpose and may be the most unnecessary follow-up since the second "Crocodile Dundee."
  26. There is a reason why books are books and movies are movies, and Fear and Loathing in Las Vegas makes a pretty good case that the two don't always mix.
  27. What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.
  28. There are occasional nice moments scattered throughout, but this is mostly a big, uncomfortable cartoon focused on the twisted attraction between two caricatures.
  29. What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.
  30. It has the sensibilities of a late-'80s/early-'90s forgettable big-screen sit com and probably won't find many interested viewers who aren't card-carrying AARP members.
  31. Taken 3 is exactly what one might anticipate from an unnecessary sequel in a mediocre franchise.
  32. W.
    Superficial, uninformative, and inert, this two hour snoozefest isn't even inflammatory enough to stoke a righteous anti-Bush brushfire. W. does for recent history what Oliver Stone's epic "Alexander" did for ancient times.
  33. Martian Child wants to make us cry. It nearly made me gag. This is an exercise in shameless and inept emotional manipulation.
  34. Murphy in particular deserves better, but at least she got a boyfriend and a paycheck out of the deal. No such benefits await those who sacrifice both cash and time to see this movie.
  35. The Rocker is more disappointing than it is outright bad. One expects something a little fresher from Wilson.
  36. A clumsy motion picture that strives so hard for the perfect romantic ending that it triggers a gag reflex along the way.
  37. The contrived storyline offers little opportunity for characters to grow and the meandering narrative trajectory and anticlimactic ending will have some viewers wondering why they bothered.
  38. The best bits in this film fall short of being inspired, but they are outrageous.
  39. The result is tepid humor and a less-than-compelling feel-good story of redemption and re-kindled romance.
  40. Foster's film offers its fair share of laughs, although most come at the expense of "easy mark" characters. Dramatically, however, the movie is only a step up from a flop.
  41. Beastly was made with tween girls in mind. It's the kind of love story a viewer can believe in when she is indiscriminating enough to ignore bad acting, bad writing, and mediocre filmmaking.

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