's Scores

For 3,074 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Pianist
Lowest review score: 0 Miss March
Score distribution:
3074 movie reviews
  1. Kidman will have the last laugh; not even Ephron, with her dumb flying house of a movie, can crush her magic.
  2. Disappointingly tame.
  3. For me, Franken is funniest at his least guarded and his most incorrect, and as he inches toward becoming a politician himself, we get less and less of that.
  4. This is one of those movies destined to be watched by family groups who can't agree on what to see: You'll all get a few chuckles, and then it's home for dessert.
  5. While Jacobson navigates the first half of Down in the Valley deftly, he loses his way in the second.
  6. His (Miyazaki) stories, and often his character design, just leave me cold. I know I'm supposed to be magically transported by his fanciful tales and his whimsical grandiosity, but they make me listless.
  7. As a capable imitation of better movies by Martin Scorsese, Brian DePalma and Roman Polanski – it's reasonably successful entertainment.
  8. Neither a masterpiece nor an embarrassment, but a workmanlike picture that sits, inoffensively, in the middling space between.
  9. At times, the movie feels less like a coming-of-age tale and more like an extended promo for the Chinese tourism bureau.
  10. Jon Voight shows up as Ben's daddy, and Harvey Keitel plays a devilishly goateed FBI agent: They're the only two actors who seem to have a sense of how ridiculous National Treasure is, but there's not enough of them to carry the picture.
  11. A truly vulgar movie.
    • 62 Metascore
    • 50 Critic Score
    A farrago, with a few morsels of deft social observation and likable performances floating around in a conventional stew of overblown, bogus emotion and rigged catharsis.
  12. I found the interlocking bitterness of Ayckbourn's play irritating and overly neat, and these people don't seem to belong to Paris or London or anywhere else, at least not anytime in the last 20 years.
  13. The Judge is watchable but thoroughly specious. It’s dull and reassuring, an infantile fantasy of homecoming and forgiveness set in a mythical version of America no one in the target audience has ever seen.
  14. This movie feels a little half-baked to me in the sense that it carries an exceedingly complicated intellectual agenda below the surface of a conventional thriller, and doesn’t execute either level as well as it might.
  15. My Blueberry Nights may not quite be what fans of either Jones or Wong Kar-wai -- directing his first film in English -- are expecting. It's a late-night, lovelorn mood piece in a minor key, not complicated or convoluted, finally more confection than substance.
  16. It is a very expensive-looking, very flashy entertainment, albeit one that groans under the weight of clumsy storytelling in the second half and features some of the most godawful dialogue this side of "Attack of the Clones."
  17. 2012 is totally, certifiably nuts, without being quite as off-the-wall kitschy as Emmerich's last special-effects extravabanzoo, "10,000 BC."
  18. The picture is an overworked trifle: There's so much going on in it that it becomes hard to care about ANYTHING that's going on in it. The story in Stranger Than Fiction is stranger than fiction. But what good is it if it's unreadable?
  19. With its tepid gags and faltering pacing, may not be a very good movie. But at least, within its clumsiness, it strives for some kind of solidarity.
  20. Bastardizes the source material to no good purpose, ending up with a strained combination of rah-rah, boy-bonding adventure and p.c. cross-cultural exploration.
  21. One of those comedies that "thinking" people tend to stay away from, but if you look beyond its admittedly aggressive marketing campaign, you can see that it was made with care and intelligence as well as a sense of fun. The pleasures it offers may be modest, but they're not negligible.
  22. Murray, as always, supplies any number of small, memorable moments — he ultimately relies on the same defanged sentimentality.
  23. Represents a breakthrough in the moviegoing experience. It may be the first time we've been asked to watch a book on tape.
  24. Puccini for Beginners may divide individual audience members. It divided me; rarely have I seen a film simultaneously so good and so bad.
  25. I'd appreciate toilet humor more if it weren't so often so unimaginative.
  26. Cold Mountain is a romance, refreshingly free from the taint of any political realities other than the "War is hell" variety. It's also completely juiceless.
  27. I'm not quite saying that the unabashed squareness and silliness of Larry Crowne are negatives. They're almost admirable in themselves, and certainly constitute a selling point.
  28. If a couple who belonged to the Christian Coalition, or your maiden aunt, or George and Laura Bush were looking for a reassuring night out, Raising Helen would fit the bill nicely.
  29. Here, Lynch has traded some of his disturbing originality for noir formula and schticky weirdness.

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