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 The Godfather
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
3049 movie reviews
  1. A dull, meandering storyline and visuals all-but destroyed by a second-rate 3-D conversion make this movie inferior to its predecessors.
  2. Someone please get director Ric Roman Waugh a tripod! Snitch might be a passable action-thriller but it's hard to say because every time an action scene comes along, the image shakes so badly it's impossible to keep anything in view or focus.
  3. Dark Shadows is a mess, and it's unclear whether its bizarre recipe of comedy, campy horror, and gothic melodrama will satisfy anyone, regardless of their familiarity with the source material.
  4. It's not as clever as it thinks it is, not as funny or exciting as it should be, and not as engaging as it needs to be to prevent kids from losing interest and parents from falling asleep.
  5. Neither smart enough nor funny enough to have cross-over appeal to any other demographic.
  6. There’s no rule that main characters have to be likable, and DeHaan’s Lockhart isn’t, but they at least have to be interesting. He fails that litmus test.
  7. MouseHunt is "'Home Alone" with a rodent in the place of Macaulay Culkin.
  8. This isn't just a horror movie with gore - it's a gore movie, period. Blood is its raison d'etre. It's not scary. It's not shocking. It just wallows in viscera. Ho-hum. Pass the ketchup.
  9. Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.
  10. Put simply, this movie is dumb.
  11. Last Action Hero is sporadically entertaining, but it could have been a whole lot more. Trimmed down and better edited, this film might have been a top-notch satire. As it is, however, it gets caught someplace in between action and comedy, and never really comes across as a solid example of either.
  12. Unless you’re a fan of extreme sports photography, the 2015 Point Break lags behind its predecessor in most areas.
  13. There's something a little annoying about a movie that tries this shamelessly to be endearing and family friendly.
  14. Reading a Sparks novel allows one's imagination to enter the equation. Watching one of his stories adapted on screen has exactly the opposite effect: it neuters the imagination. This is soap opera, pure and simple.
  15. This new interpretation does few things better than the original, and many things worse.
  16. The Holiday is no vacation. Sloppy writing, an overindulgent editor, and poor casting have taken an intriguing premise and transformed it into an uneven mess.
  17. What a waste of a talented cast! There are times when it can be depressing to see so much acting potential wasted on a script unable to elicit the best from its stars, and this is one such occasion.
  18. The story told by Jackson's The Lovely Bones is the same as the one related by Sebold, but it lacks the complexity and empathy evident in the book.
  19. One of those movies in which the principals talk a lot but don't say much.
  20. A somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.
  21. Aside from the inept "August Rush," there probably isn't a more clumsily manipulative motion picture out there this holiday season than P.S. I Love You.
  22. The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés.
  23. As coming of age stories go, Wah-Wah does little to distinguish itself.
  24. Deliver us from directors who think that asking cast members to overact is the only way he can cover us the numerous ludicrous weaknesses of his screenplay.
  25. A horror film that starts out creepy but ends up disjointed and borderline- incoherent. It's a shame that the final product isn't a little better packaged because, unlike many lame entries into the genre, this one actually contains a few interesting, philosophically titillating ideas.
  26. The "Apatow formula" is pretty simple: raunchy comedy, likeable characters, and a dash of sweetness (but nothing too sweet). Drillbit Taylor fulfills the third characteristic but falls short in the other two.
  27. The story's entire foundation is based upon a plot hole so gargantuan that anyone not suffering a brain cramp will identify it at once.
  28. The movie ends up feeling superficial and mechanical. Warhol is a cut-and-dried villain rather than a complex individual.
  29. This is not a good movie but, considering what Halloween has evolved into over the course of seven sequels, it's perhaps better than it has a right to be.
  30. There's no shortage of candidates for the fatal flaw: the artificial storyline; the presence of a ridiculously cliched character; the lack of chemistry between illicit lovers. Blaming one of these problems is probably unfair. The movie's failure is likely based on a fusion of all these, and perhaps a few others.

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