St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,215 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 6.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Die Hard 2
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1215 movie reviews
  1. While the plot is as flimsy as a hooker's halter top, it's buoyed by two actors with attitude and timing.
  2. The settings and supporting roles suggest that If I Stay started out as someone’s passion project, but the final product only requires its star to sleepwalk through buckets of schlock.
  3. It's almost offensive that Danny Glover is relegated to playing the mysterious old confidante who haunts the same fishing hole as Cal. By the time Glover's character delivers the homily, Legendary is pinned to the mat.
  4. As long as Hollywood keeps hitting us over the head with empty spectacles like G.I. Joe: Retaliation, regular Joes will be too numb to fight back.
  5. With stingy portions and plenty of filler, Magic Mike XXL is the worst sausage party ever.
  6. The most rewarding way to watch Water for Elephants is to focus on the sideshow of costumes and craftsmanship, because the romance in the center ring smells like trained animals going through the motions.
  7. There's a fascinating story here for a bolder filmmaker, but after so much meandering it's a relief that "All Good Things" must come to an end.
  8. Because we don't know or care much about the characters, this Israeli film never fulfills its potential as either an absurdist comedy or a humane drama.
  9. All that complexity backfires at about the midpoint, leaving viewers with a standard yarn about a popular guy who makes a grossly insensitive wager after his trophy girlfriend drops him. After that, it is all a case of "been there, done that." [29 Jan 1999,p. E3]
    • St. Louis Post-Dispatch
  10. ’Round these parts, when a movie promises a million laughs but only delivers a dozen chuckles, that’s a hanging offense.
  11. Here, Dan Aykroyd mimics the original voice, but the three-dimensional CGI isn't loose and lively enough to compensate for the unimaginative story.
  12. A foul-mouthed comedy, which isn't necessarily a bad thing. "Bad Santa" (2003) also had plenty of crude language and lewd behavior. The difference is, "Bad Santa" was extremely funny.
  13. Judged solely in comparison to its corporate cousins, Iron Man 3 is a defective model. It’s lightweight but slow, padded with cheap jokes to disguise how hollow it is.
  14. Duvall is a powerful actor, and this folksy fable could have been a career-capping feat, but the movie is toothless and slow.
  15. This gravely serious drama is as insular as a tomb with Muzak. It takes a particularly heavy hand to make us numb to the abduction of two children, but that's the effect of the wall-to-wall music and earnestly dour performances.
  16. Back when it was planned as an African-American "Ocean's Eleven," this project might have been edgy, but the script has been whitewashed into a generic caper comedy with pretensions of timeliness.
  17. The movie version of Fifty Shades is better than the book. It's still awful, but when a filmmaker starts with stupid source material, he's handcuffed.
  18. This is an extremely gory flick, with autopsy scenes to complement Schwarzenegger’s usual shoot-first sensibilities. After 30 years, it’s pointless to complain about the collateral damage in his movies, but here Schwarzenegger is taking vigilante justice to dark new levels that can only be reached via plot holes big enough for a Hummer.
  19. The questions raised by Oblivion aren’t especially deep, but the movie does answer a puzzler that has troubled humankind for generations: Can Tom Cruise build a concept so big that he himself can’t lift it?
  20. The mediocre mushy stuff isn’t alleviated by enough action.
  21. While it claims to be exported from New Jersey, The Oranges is peddling an alien motto: When life hands you lemons, fuhgeddaboudit.
  22. The verdict on Snitch is that Johnson has attempted a career detour on a street marked Do Not Enter.
  23. Considerably better looking than its predecessor, but it's spewing the same old gibberish.
  24. Spacey evokes memories of other movies in which he's played a shark, and it's inherently fascinating to hear Aniston talking dirty and to see Farrell with a combover, but nothing in the film is genuinely provocative.
  25. Because the affable Wahlberg is making the sales pitch, you could kid yourself that this is just a high-tech vacuum cleaner, built to siphon loose change like popcorn. But our failure to understand the terrifying significance of the “Transformers” series is why we're in the age of extinction.
  26. It's a worn-out show-business fairy tale piggybacking on a nonexistent trend.
    • 38 Metascore
    • 50 Critic Score
    Like its main character, I Don't Know How She Does It tries to do everything, but it doesn't quite succeed.
  27. It's classic sitcom shtick, and The Dilemma is a painful reminder that director Ron Howard was trained in television.
  28. Struggles heroically, but unsuccessfully, to strike a balance between whimsy and pathos.
  29. A movie with no surprises at all, a streamlined chase flick that is running on the fumes from recycled fuel.
  30. Here's a riddle: What's Alice in Wonderland without wonder? It's a beloved character landing in the rubble of wrong-headed revisionism.
  31. It's eerie rather than wondrous.
  32. This is another one of those phony movies in which a character burrows into someone else's life without telling them she's an axe murderer, a man or a vampire. Not only that, we're supposed to hope that they get it on. I was hoping that everyone involved would get hit by an asteroid.
  33. We were promised desolation, but “The Hobbit” just keeps dragon on.
  34. McAvoy and Fassbender appealingly reprise their frenemy chemistry. But Lawrence has little to do but look perplexed.
  35. If Repo Men could have sustained its ghoulish humor, it might have been a guilty pleasure.
  36. Although the ratio of comedy to drama becomes increasingly weighted toward tearjerking, few of the emotional moments are realistic or effective.
  37. OK, the musical ode to Doby the shark elicits a grin, but the low-percentage script is loaded with buckshot, not harpoons, and Anchorman 2 ends up sinking.
  38. How you feel about Fast & Furious 6 is a matter of perspective. While a middle-age egghead might note that a series that started out as a harmless cars-and-girls fantasy has devolved into a full-blown assault on human intelligence.
  39. Written, directed and acted by Hollywood pros, Heaven Is For Real is a polished little movie with a hopeful message, but when it literalizes the divine mysteries, it opens the door to a Doubting Thomas.
  40. One small step for action movies, one giant leap into the abyss of mindlessness.
  41. A documentary that clearly aspires to the highest standards of cinematic muckraking but makes for a frustrating experience.
  42. Out of the Furnace is hot air.
  43. As a sex-education comedy, Hysteria is flaccid, forced and unfunny.
  44. Kevin Hart hits the vicinity of humor with a few of his drive-by wisecracks, but the movie itself has nothing under the hood.
  45. After watching Post Grad, you may wonder whether Hollywood will ever stop making generic comedies with zero tolerance for originality.
  46. The clichéd script doesn't develop the secondary characters or the critical theme of the mutants' alienation.
  47. The delivery pouch for Premium Rush promises a white-hot thriller from the bike-messenger subculture. But what's inside the package seems like a lukewarm action-comedy from the pile of scripts that Matthew Broderick rejected after "Ferris Bueller's Day Off."
  48. There's nothing cinematic about this turgid tearjerker except the slumming presence of movie star Harrison Ford.
  49. It's clear that Phillips is betting heavily on funnymen Jeong and Galifianakis to hide his creative bankruptcy.
  50. A handsome movie with a handsome leading man. Christian Bale is widely considered the finest actor of his generation. Yet here he’s adrift in the bulrushes. This might be the most indifferent performance of Bale’s career.
  51. J. Edgar is the kind of prestige production that apologists will call polished, but even the technical attributes are tinny. In the gay-geezers scenes, Hammer wears terrible old-age makeup, and the entire film is bathed in sepia tones as weak as its convictions.
  52. The special effects remain good, but the jokes are creaky, the sentiments are forced and the pop-historical lessons are obligatory.
  53. This movie, which was made by an animation studio in Spain, isn't trying to make a social statement; it speaks in the international language of lightweight comedy.
    • 49 Metascore
    • 50 Critic Score
    Mars Needs Moms is dark for a Disney movie.
  54. The so-so film isn't nearly as good as any of the movies that may have inspired it, or even its own knockout trailer.
  55. A medical drama that pays lip service to the healing power of music but never finds the rhythm.
  56. The Big Year puts the focus on people who aren't inherently interesting - or funny.
  57. Offbeat and unpredictable, Demolition takes a wrecking ball to audience expectations.
  58. Starved of sufficient comedy or drama, The Age of Adaline is a pipsqueak.
  59. Minions is product, pure and simple. Little kids will love it, but grown-ups will feel like they’re being held hostage in a Fisher-Price test laboratory.
  60. The most grievous sins here are sins of omission.
  61. Hot Tub Time Machine isn't a good movie, but like a bubbling bath it keeps pounding at us until our resistance wears down.
  62. Lovely to look at, and Vikander does nothing to derail her inevitable ascension to the A-list. But as a story, it evokes a word that no battlefield nurse would ever apply to her experiences: sterile.
  63. The setting and offbeat tone may remind some viewers of another recent comedy, but whereas “The Descendants” was a substantive meal, Aloha is a pu pu platter.
  64. Has a welcome message of personal growth and racial tolerance. And it's ably made, with evocative Memphis locations. But in the final sermon, it proffers some plot twists that are supposed to be miraculous but may strike a doubting Thomas as lame.
  65. 9
    Although it has a great look and offers a few thrills, the animated film 9 is one of this year's biggest disappointments.
  66. In getting so many of the Midwestern details wrong, worldly director Bahrani (“Chop Shop”) teaches an inadvertent lesson to aspiring filmmakers who want to follow his footsteps to the festival circuit: Grow where you’re planted.
  67. To stand out in a crowded marketplace, a sequel can’t just kick ass — it has to blow minds.
  68. Instead of entertaining us, director Robert Redford offers us a handsome history lesson that's as dry as a hardtack biscuit.
  69. The few Jewish characters are cartoonishly evil, but even the Palestinians are sketchily dramatized or, in the case of a terrorist, clumsily legitimized.
  70. Except for the dynamite finale, The Long Ranger feels like a long, slow ride to the dump, to the dump, to the dump, dump, dump.
  71. Although The November Man shows us some attractive people in motion, the cumulative effect leaves us neither shaken nor stirred.
  72. The diabolical sadist of the team was director Joe Carnahan.
  73. It's a worthy cause and an honorable film, the first full-length Disney cartoon with an African-American heroine. But without a strong story, it's a case of one step forward and two steps back.
  74. It’s unashamedly of the B-movie variety — a quick and easy time-killer.
  75. Even by the standards of light entertainment, This Means War is meaningless.
  76. Manages to waste the talents of its strong supporting cast, which includes Thomas Haden Church, Patricia Clarkson, Lisa Kudrow, Malcolm McDowell and Stanley Tucci.
  77. In Hollywood, it’s all about the concept, and some studio executive must have thought it would be fun to watch Adams slogging around in the Irish mud. Unfortunately, there’s no accounting for taste.
  78. In a way, Stonewall is proof that the gay community has fully made the transition to the mainstream. It’s now subject to the kind of Hollywood nonsense that was previously reserved for heterosexuals.
    • 50 Metascore
    • 50 Critic Score
    The result is a movie with a lot of hysterically funny lines (including a nod to St. Louis) shooting through the banal, timeworn plot, relieved occasionally by a well-wrought sketch. Director Steven Spielberg tries to stir this mixture, but it's just too flour-y. [22 Dec. 1989, p3F]
    • St. Louis Post-Dispatch
  79. Once we've quickly digested the fortune-cookie message that modern women are as bound by obligations as their grandmothers were, all we can savor is the scenery.
  80. Spurlock teases the baby sitter contingent with a brief scene where a scientist discusses the neuro-chemical appeal of pop music, but thereafter the film is aimed squarely at face-value fans of the Pre-Fab Five.
  81. It would have been nice if Cowboys & Aliens had come come up with the right equation to balance originality and homage. But in the end, it all turned into trigonometry.
  82. There are some laughs in The Bronze, but more time in which we might wish it would end already. When it does, just like on Hallmark, lessons are learned. Perhaps for Rauch, the lesson is to write herself a better movie next time.
  83. One Day fails to make us care about the young couple at its center.
  84. Colin Firth is an Academy Award winner, so perhaps his lack of chemistry with fellow honoree Nicole Kidman is a carefully laid clue that his middle-aged newlywed Eric Lomax is damaged goods. Yet to the drama’s detriment, Lomax is about as poisonous as a week-old crumpet.
  85. The more suitably antic Robert Downey Jr. and Johnny Depp were considered for the part before Franco wandered into the picture with his stoner grin.
  86. We're the Millers is nothing but stems and seeds, with less buzz than a bag of oregano.
  87. A would-be light thriller that's so deficient in the genre's essentials - such as witty dialogue, intriguing characters and surprising yet credible plot turns - that you're embarrassed for everyone involved.
  88. Despite the oddly literate title, Vincent Wants to Sea never deviates from the predictable bonding-through-misadventure script, and it has little to teach us about the nature and treatment of the traveler's respective maladies.
    • 45 Metascore
    • 50 Critic Score
    Twilight fans who have followed the series will want to see "Breaking Dawn," and like Bella and Edward may find brief moments of pleasure.
  89. Weaver is a natural as the imperious Ramona, but the rest of the cast is flattened by the script, particularly White, who is just window-dressing in a movie that could use the rude humor she's displayed elsewhere.
  90. The kiddie audience will laugh a few times, but it would take an electron microscope to find an original idea or joke in this entire cartoonish movie.
  91. It's hard to love and hard to hate.
  92. If you’re interested in Williams and his music, this film is better than nothing — but not by much.
  93. Footloose poses as a bold update, but it's shockingly out of step with the times.
  94. In the end, audiences will be neither shaken nor stirred. Just bored and confused.
  95. Here, the scattershot spoofery never rings true.
  96. A Bigger Splash? More like a small trickle.
    • 62 Metascore
    • 50 Critic Score
    The problem with In Praise of Love is not that it seems to be possessed by a kind of free floating anti-Americanism. I'm not all that crazy about some of the things this country does, either, and I detest some of the big-budget movies Hollywood makes. The problem with "In Praise of Love" is that it never shuts up. [1 Nov 2002, p.E4]
    • St. Louis Post-Dispatch
  97. Fast Five represents Yankee ingenuity of the brutally stupid kind.
  98. Mostly "Hoodwinked Too" is playing to young video gamers, with overblown action sequences and slangy 'tude.
  99. People over 60 are as sexual and complicated as their grandchildren, and there ought to be more movies about them, but only an audience as constipated as these characters could mistake this lukewarm stream of pablum for a hard nugget of truth.
  100. After a nifty setup, In Time mostly fails to deliver as it gets lamer by the minute.
  101. Ultimately it's sunk by the hole in the middle: Paul Campbell (presidential aide Billy on "Battlestar Galactica") who substitutes smarm for charm as the archetypal player who gets played.
  102. To paraphrase a classic of Reagan-era cinema, A Good Day to Die Hard is a bad day to stop sniffing glue.
  103. Snark is not art. In the evolutionary spectrum of cinema, Natural Selection is like the duck-billed platypus, pretending to be warm-blooded but more than a little fowl.
    • 31 Metascore
    • 50 Critic Score
    Most. Depressing. Christmas. Movie. Ever.
  104. By design it’s monotonous, and with so much clunky hardware, Liman can’t generate the same pace he produced in the “Bourne” movies. Edge of Tomorrow has neither an edge nor a vision of tomorrow that matters today.
  105. It's hard to hate a movie that escorts us to such lovely locales, but instead of marking the territory as her own, Madonna has directed a potentially provocative story like a virgin.
  106. RED
    Red is an insult to our memories and to our intelligence, an unfunny farce whose veteran cast is cashing a retirement check.
  107. Damsels in Distress is shockingly tone-deaf. Stillman is still capable of a few amusing quips, but his storytelling is sophomoric.
  108. So friction-free that it slips from memory before the credits fade.
  109. In my old New Jersey public school, the first thing we learned was the smell of baloney.
    • 70 Metascore
    • 50 Critic Score
    This undramatic and flat peek “inside” the sewing rooms of Christian Dior holds little in the way of entertainment.
  110. We need to have a dialogue about the wages of war in the remote-control era. But it’s hard to spark a good dialogue with movies whose dialogue is so bad.
  111. Proficient director Peter Berg ("Hancock") keeps the noise so deafening we can't think about how preposterous it all is.
  112. The comedy is so lame that the whole enterprise comes across as depressing.
  113. It doesn’t help that the characters caught up in this fact-based melodrama aren’t particularly engaging. Or that Téchiné doesn’t seem to have much of a feel for the material.
  114. The flashbacks, which get almost as much screen time as the present day story, are far more compelling.
    • 67 Metascore
    • 50 Critic Score
    Is briefly entertaining but shows mainly that sports films featuring women are no better than those featuring men. Much of the problem belongs to director Penny Marshall, who reaches for the cliche, and for the easy way out, each time the movie seems to be about to make a serious statement about women or about baseball. [3 July 1992, p.3G]
    • St. Louis Post-Dispatch
  115. There’s a good movie to be made about the alienating effects of modern technology. In 2013, a little-seen indie called “Disconnect,” starring Jason Bateman, came closer than this well-intentioned failure, which has virtually no heart, humor, sense of place or central point of view. In trying to be a big, important movie, Men, Women & Children is about none of the above.
  116. The way that Muppets Most Wanted grabs for the green is criminal.
  117. His (Eastwood) first boring film.
  118. The latest Hollywood version of the Godzilla story is neither fun nor fearsome. It’s an empty spectacle in which the humans are as meaningless as the monster.
  119. Technically proficient enough to keep us intrigued; but we shouldn't have to Google a movie to know if we were scared.
  120. Letters to Juliet has about half as much Shakespearean content as "Shakes the Clown" and even less sincerity.
    • 36 Metascore
    • 50 Critic Score
    Doesn't break any new ground, but it is a decent way to spend a girls' night out.
    • 65 Metascore
    • 50 Critic Score
    This time around, the story seems old and tired as well. The result is a routine space opera, an only moderately entertaining finale to a series that has had some great moments. [6 Dec. 1991, p.3D]
    • St. Louis Post-Dispatch
  121. What it lacks is the human element. Charlie is more of a rat than a rascal, and instead of working hard to build and operate his robots, he's literally going through the motions.
  122. This is the kind of film that makes moviegoers long for good, old-fashioned storytelling.
  123. Would have benefited from the kind of objectivity that Bass -- as Sar's well-heeled sponsor -- was hardly in a position to deliver.
  124. Genius, like most films about the literary life, has trouble dramatizing what’s involved and making us care.
  125. On its own terms and against all odds, "Outrage" is adequately entertaining, with more than enough cringe-inducing violence and cruel humor to please the average American moviegoer. But true Kitano fans will find its title sadly ironic.
  126. Despite the title, My One and Only is irritatingly repetitive.
  127. Initially, the puzzle structure and a pair of Oscar-winning actresses distract us from the dark vacuum at the center of this enterprise, but when it implodes, it doesn't reverberate.
  128. With such a thin excuse for a leading man, Arthur is a dud.
  129. Second verse, not as good as the first.
  130. Everything about Trouble With the Curve is as streamlined and hollow as a Wiffle Ball bat.
  131. Although it’s superficially grungy, this true story isn’t much more substantive than something that star Vanessa Hudgens might have made for the Disney Channel and considerably less shocking than her career gambit in “Spring Breakers.”
  132. Congratulations, visitor. You have been randomly selected to beta test an entertainment-software product called “The Internship 2.0.”
  133. War of the Buttons is handsomely crafted and it's touting tolerance, but as long as we open the gates to the Trojan horse of historical simplification, there's a danger that Hollywood could attack us with "The Goonies Go to the Gulag." Be vigilant!
  134. Falls into that middling ground of horror film: neither scary enough to be exciting nor campy enough to be amusing.
  135. Based on an acclaimed novel by Ron Rash, Serena is like a towering tale that’s been fed into a woodchipper.
  136. What might have seemed like a lively idea -- an all-star roundelay about love in Los Angeles -- is as fossilized as the wooly mammoths in the La Brea Tar Pits.
  137. The only edge in the movie is represented by Russell Brand, who actually lived the lifestyle, but he's muzzled by a bad Liverpool accent and a gay subplot that's as insincere as the swaggering anthems by fatuous hacks like Foreigner, Starship and Journey.
  138. Pine and the always-watchable Banks make the best of a bad screenplay, but People Like Us gives us nothing that we can relate to.
  139. 30 Minutes or Less could have been a guilty pleasure, but the crusty caper is half baked.
  140. Although it's stuffed with subplots, gadgets and bad guys, this tinny contraption is half-hearted.
  141. If this movie wanders into your neighborhood, the only watch that will hold your attention is the timepiece on your wrist.
  142. The fatal flaw of this screenwriting term paper is that Cooper's character is a boring jerk we're supposed to regard as a nice guy who made an honest mistake.
  143. The documentary Live from New York is a separate thing. It doesn’t try to be wild and crazy, and it can’t be comprehensive. Like a land shark, it’s an uncomfortable hybrid that bites off more than it can chew.
  144. As usual for the comedies he produces, Sandler keeps pooping in the sandbox, and he expects the audience to give him a cookie for it. It’s a shame that he forces Barrymore to get soiled too.
  145. If you're a zombie purist or a fan of "The Walking Dead," Warm Bodies is not for you.
  146. Saint Laurent was a truly mythic figure. It’s a shame that Bonello’s film doesn’t do him justice.
  147. An inconsequential mess.
  148. Mired in phoniness up to its neck. And above that, there's nothing.
  149. As a melodrama, Brothers is passable entertainment. But the film squanders the opportunity to meaningfully portray the impact of war on American lives.
  150. Episodically structured and lethargically paced, the new film attempts to convince us that there's something incredibly charming about an old guy who makes a habit of ogling young women. Actually, the whole scenario is pretty creepy.
  151. While the cast is filled with award winners, writer-director Daniel Barnz is a dunce who can't construct an argument without employing flimsy logic and cardboard characters.
  152. As in the mindless Man on a Ledge, the hero is never really in danger, we're the ones who are trapped.
  153. In the end, the movie is still a poetic injustice.
  154. For his complex portrayal, Day-Lewis is likely to have roses thrown at his feet, but for the dreadful film in which he's enslaved, emancipated onlookers will reach for the grapes of wrath.
  155. Red 2 is not just a bad movie, it’s bad karma. And the target audience of adult moviegoers who respect the names in its once-vital cast have a bull’s-eye on their collective cranium.
  156. Laggies is the kind of indie film that gives the genre a bad name.
  157. There’s a sharp comedy to be made about America’s misadventures in Afghanistan. This isn’t it.
  158. The wrinkles between reality and illusion soon become irritating.
  159. Land Ho! is a tepid little movie that goes almost nowhere, and if I had to sit in that rental car for one more boob joke, I’d rather jump into a volcano.
  160. It requires a mild suspension of disbelief to accept that slacker David would suddenly intervene in so many lives, pretending to be a good Samaritan.
  161. Shakespeare’s play evokes the poetry of undying love, but this Romeo and Juliet is prosaic.
  162. Savvy filmgoers will know they are getting a stale product as soon as they see the wrapper: one of those vintage muscle cars that screams “stakeout.”
  163. A road-trip comedy that somehow renders both promiscuity and racism harmless. While we're soaking up the sunny surroundings, we're getting nowhere.
  164. Admission is one film you may not want to get into.
  165. Amid other wedding movies crowding screens these days, not to mention Perry's "Madea's Big Happy Family," Jumping the Broom feels instantly familiar. And tired.
  166. Its mean-spiritedness, stupidity and squandering of talent is uniquely Hollywood.
  167. In Couples Retreat, it's Favreau, not Vaughn, who is wound up, and this vacation comedy goes nowhere.
  168. There Be Dragons is tethered to the earth by a tangled plot, wooden acting and the heavy burden of healing old wounds.
  169. This is a brutal and stupid movie.
  170. Whose story is this? There’s an old saying that history is written by the winners. The screenplay for The Hobbit: The Battle of the Five Armies must have been written by elves.
  171. In a small role as a self-absorbed film producer, Mark Wahlberg is touchingly effective.
  172. Extremely Loud and Incredibly Close is supposed to promote healing, but as they say in New York: close, but no cigar.
  173. An ambitious movie, but ultimately there’s too much “artificial” and not enough “intelligence.”
  174. Third Person doesn’t lack for ambition, and it’s nice to see Neeson in the kind of role that he excelled at before he morphed into an action star.
  175. Austenland is as frustrating as a blind date with Almost Mr. Right. It’s impossible not to fixate on how close this was to being a lot of fun.
  176. Further proof that likable actors have to take an occasional sick day.
  177. Strives to be entertaining, but for much of its run time it is so emotionally uninvolving that even the smallest children might find themselves bored.
  178. Fans of the franchise will greet Les Misérables as a feast for the senses, but the rest of us are left with crumbs.
  179. Yet if you’re old enough to read this and you find yourself at a screening, try thinking about the munchkins who worked so hard on the psychedelic scenery.
  180. The film is constructed from four flimsy vignettes that are artlessly overlapped.
  181. Megamind falls flat.
  182. Squeezes plenty of color and noise from a thin concept, then runs with it until non-fanatics can’t keep up.
  183. The derivative script and skimpy effects don’t convey either the power or the problems of being a young witch.
  184. A faithful remake of RoboCop would be timely. Instead, the producers of this new version have retreated back to the lab, concocting a creaky hybrid of “Frankenstein” and “Call of Duty.”
  185. This shrill caper is more like a blind date between fingernail and chalkboard.
  186. Hallstrom (“Chocolat”) makes the mishmash palatable, and romance mainstay Duhamel provides some sweet-and-salty charm, but there’s not much they can do with Sparks’ canned dialogue and Hough’s undercooked acting.
  187. More scenic than scary.
  188. Count Black Nativity as a more noble than notable effort.
  189. Closed Circuit is not a tense thriller about the new era of surveillance — it's a tepid thriller about the old notion that no leader can be trusted.
  190. Terminator Salvation is a tale told idiotically, full of sound and fury, signifying nothing.
  191. If you don’t crave the taste of motor oil on your popcorn, Furious 7 can’t end fast enough.
  192. You ought to have a movie that's both smart and sexy. But Jennifer's Body is neither. Most damning of all, it's not scary.
    • 69 Metascore
    • 50 Critic Score
    This movie is Denzel Washington stopping a speeding train devoid of subtext, blunders and earth-shattering revelations about the human condition. It is precisely as entertaining as it sounds; no more, no less.
  193. The film is flat and lazy, and the audio mix is so low it sounds as if the audience is barely laughing. His cable comedy specials have better production values.
  194. Rooted in empty materialism, but it never evokes the heady rush of a guilty pleasure or the precipitous payback of a thriller.
  195. a horrific misstep in the branding of Robert Pattinson. The erstwhile teen vampire, who daringly portrayed gay surrealist Salvador Dalí in last year's "Little Ashes," lurches backward into a pile of romantic rubbish.
    • 43 Metascore
    • 50 Critic Score
    "Star Trek V'' begins and ends well, but is something of a muddle in the middle. [9 June 1989]
    • St. Louis Post-Dispatch
  196. It's as if there's a missing reel of film that could tie the story together and give it the emotional impact it takes for granted.
  197. There are good movies to be made about romantic obsession, but the premise doesn't work if the crazy stalker isn't juxtaposed with a sympathetic victim.
  198. There are a few beguiling moments in Holy Motors, particularly a martial-arts sequence and an erotic dance while Mr. Oscar is dressed in a motion-capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that makes sense.
  199. If you can’t guess that the whole thing ends with a big dance number, you’ve been snoozing in your samosas.
  200. In this flick, the dark side is as bright as a cruise-ship showroom, where the singing and dancing would fit nicely, while the jokes are as dull as Disney sitcom throwaways.
  201. For the hour or so it’s on screen it’s a harmless, little chiller that doesn’t scare much but serves as a holdover until something truly scary comes along.
  202. Ender’s Game is a blandly sanitized spectacle.
  203. Imagine if the "Godfather" saga had been told from the point of view of Talia Shire's character. The perspective of a don's daughter could produce a compelling movie, but The Sicilian Girl isn't it.
  204. This mash-up movie is like a greatest-hits collection for obsessive collectors. On its own terms, Terminator Genisys makes virtually no sense.

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