For 4,789 reviews, this publication has graded:
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48% higher than the average critic
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3% same as the average critic
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49% lower than the average critic
On average, this publication grades 2.6 points lower than other critics.
(0-100 point scale)
Average Movie review score: 59
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 2,329 out of 4789
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Mixed: 1,771 out of 4789
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Negative: 689 out of 4789
4,789
movie reviews
- By critic score
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Reviewed by
Nathan Rabin 33
The Spy Kids series once seemed charmingly homemade. These days, it feels less charmingly homemade than maddeningly amateurish.- Posted Aug 19, 2011
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Reviewed by
Nathan Rabin 33
This clumsy action movie feels too generic to be real. The film attempts to add an element of sophisticated sociopolitical commentary to the typical Jason Statham head-busting shoot-'em-up, but only ends up draining it of visceral thrills.- Posted Sep 21, 2011
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Reviewed by
Nathan Rabin 33
Courageous literally preaches to the converted, delivering ham-fisted messages of responsibility to the most receptive audience possible.- Posted Oct 1, 2011
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Critic Score 33
The roughness of Happy Life's production values and the inconsistency of its amateur actors would be forgivable if it showed any heart, but this low-budget ramble about techno's glory days instead inspires relief that things have moved on.- Posted Oct 12, 2011
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Reviewed by
Keith Phipps 33
It's as dull as it is brainless, the work of creators who've spent far more time concocting silly stories about Shakespeare than learning from him.- Posted Oct 26, 2011
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Reviewed by
Nathan Rabin 33
For a film about a "sport" where every competition is literally a matter of life and death, the oddly inert, suspense-free 13 is strangely lacking in urgency.- Posted Oct 26, 2011
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Reviewed by
Nathan Rabin 33
Films like these have taught us that suffering is the incontrovertible existential fate of attractive Los Angeles residents. Must these dour exercises in alienation make audiences suffer as well?- Posted Dec 1, 2011
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Reviewed by
Nathan Rabin 33
It's safe to say to no idea was nixed on the set of New Year's Eve for being too cheesy or sentimental; if anything, ideas were nixed for not being sentimental or cheesy enough.- Posted Dec 7, 2011
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Reviewed by
Nathan Rabin 33
With its wall-to-wall pop covers, Chipwrecked isn't a kids' movie so much as a brightly animated, instantly forgettable animated feature-length advertisement for the NOW That's What I Call Music! compilation series of contemporary pop hits.- Posted Dec 14, 2011
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Reviewed by
Nathan Rabin 33
It's a film of shuddering earnestness and fevered good intentions gone awry, a dreary slog of a message movie with little but noble if unfulfilled aspirations to commend it.- Posted Dec 22, 2011
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Critic Score 33
Watching TV With The Red Chinese is based on a Luke Whisnant young-adult novel that co-writer/director Shimon Dotan (Diamond Dogs) seems to have fed into a blender.- Posted Jan 18, 2012
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Reviewed by
Scott Tobias 33
As the plot unfolds, brick by brick, the structure starts to wobble until it finally collapses into unintentional comedy.- Posted Jan 25, 2012
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Reviewed by
Nathan Rabin 33
This adventure strands Johnson's famously animated features in eyebrow jail, and squanders his outsized charisma and gift for winking self-deprecation in a thankless worried-stepfather role. It doesn't call for much, beyond a lot of muscles and an ever-present look of concern for his whiny stepson.- Posted Feb 8, 2012
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Reviewed by
Nathan Rabin 33
The charismatic Idris Elba debuts in a key role as an alcoholic priest who recruits Cage's unique services. Yet instead of elevating the franchise, Ghost Rider: Spirit Of Vengeance ends up squandering even more potential.- Posted Feb 17, 2012
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Critic Score 33
Tennant and Macdonald are appealing performers, but they aren't given scenes that convey they even like each other, much less that they're irresistibly drawn to each other, circumstances be damned.- Posted Mar 7, 2012
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Critic Score 33
As onscreen professions go, it'd be a nice change of pace, were Miranda Kent not the least credible scientist since Denise Richards donned short shorts to play Dr. Christmas Jones.- Posted Mar 28, 2012
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Reviewed by
Scott Tobias 33
The indie rom-com/sitcom L!fe Happens is a case study in how bad movies can turn an ordinary, relatable situation into a grotesque distortion with only a passing resemblance to the way actual human beings live and interact with each other.- Posted Apr 11, 2012
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Reviewed by
Scott Tobias 33
Writer-director Mary Harron, a supremely intelligent adaptor who did wonders with the screen version of Bret Easton Ellis' "American Psycho," simply doesn't have the chops to give this story the florid kick it needs.- Posted Apr 18, 2012
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Reviewed by
Sam Adams 33
Lagos draws strong performances from her young cast, as well as David Oyelowo, who plays Ross' uncle and guardian, but they don't have much to work with.- Posted Apr 25, 2012
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Reviewed by
Noel Murray 33
Seen as some kind of absurdist, meta-textual horror story, American Animal almost works. In every other way? It's fuckin' poopy-loopy.- Posted May 16, 2012
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Reviewed by
Nathan Rabin 33
With its shameless melodrama, ghoulish violence, and scenes of Christians being slaughtered en masse in holy places for the crime of publicly being Christians, the religious drama For Greater Glory feels an awful lot like evangelical Tribulation dramas such as "Left Behind: The Movie" and "The Omega Code."- Posted May 30, 2012
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Reviewed by
Nathan Rabin 33
This glossy musical, from "Hairspray" director Adam Shankman, is a shameless crowd-pleaser where cardboard characters use the most overplayed and ubiquitous hits of the 1980s to express the aching banality of their souls.- Posted Jun 13, 2012
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Reviewed by
Sam Adams 33
Sherman's feature turns out to be enamored of the kind of reality that gets left out of movies not because it's provocative or controversial, but because it isn't particularly interesting.- Posted Jul 4, 2012
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Reviewed by
Scott Tobias 33
Director Rob Whitehair doesn't do much to complicate what's essentially a promotional featurette for Wiede and Tucker's Wild Sentry organization, presenting the anti-wolf faction as rabid, irrational, and extreme. But he can't be blamed for wanting to stoke the drama a little: Without it, True Wolf would be a lesson in the care and feeding of an exotic pet.- Posted Aug 15, 2012
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Reviewed by
Scott Tobias 33
These are all legitimate concerns, which Navarro supports with testimony from economists, politicians, union leaders, and businesspeople, but they're undermined at every point by a sky-is-falling hysteria that registers as white noise. It's the documentary equivalent of a raving street-corner derelict.- Posted Aug 22, 2012
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Critic Score 33
The film owes a lot to "Napoleon Dynamite," though it could have borrowed more of the underlying sweetness of Jared Hess' film, and less of other things, like its eyebrow-raising treatment of race.- Posted Aug 22, 2012
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Reviewed by
Keith Phipps 33
Dredd, a second attempt at making Judge Dredd a movie star, overcorrects, veering in the opposite direction with a dark - literally and otherwise - nearly humorless bit of ultraviolence distinguished largely by a fondness for spurting CGI blood.- Posted Sep 19, 2012
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Critic Score 33
Not only doesn't achieve empathy for the minor plights of its human noodle of a hero Toby Regbo, it might actually make audiences understand the urge to bully.- Posted Oct 3, 2012
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Reviewed by
Sam Adams 33
A toothless, insufferably smug satire using competitive butter-carving as a weak-tea stand-in for Midwestern politics, Butter is so contemptuous of its corn-fed rubes, it might as well be a Trojan horse crafted to prove the movie industry's liberal bias.- Posted Oct 3, 2012
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Reviewed by
Nathan Rabin 33
Here Comes The Boom seems to have made it from the pitch stage - Kevin James does MMA to save his school or something! - to the big screen without an iota of inspiration, ambition, or personality seeping in at any juncture.- Posted Oct 10, 2012
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Critic Score 33
Perry shifts into full-on badass mode... well, the best that can be said is that he's sincere. For all that, he's still less embarrassing than Lost's Matthew Fox, likewise cast against type as the film's sadistic villain.- Posted Oct 17, 2012
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Reviewed by
Keith Phipps 33
It doesn't help that the characters have so little to them. Weston plays Moriarty as such an unfailingly good, temptation-free kid that he only needs a halo floating above his pre-Raphaelite curls to complete the picture.- Posted Oct 24, 2012
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Critic Score 33
A laborious comedy about a Halloween night in Cleveland that feels too grown up in half of its storylines to suit younger audiences, and too juvenile or nonsensical in the rest of its gags to please anyone else.- Posted Oct 25, 2012
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Reviewed by
Scott Tobias 33
Red Dawn without the jingoism is like a pie without the filling - it collapses into splintered mush.- Posted Nov 21, 2012
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Reviewed by
Nathan Rabin 33
Gangster Squad aims for the pop-operatic intensity of "The Untouchables," but ends up feeling like a savage, simple-minded comic strip.- Posted Jan 9, 2013
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Reviewed by
Nathan Rabin 33
If the sluggishly paced, virtually laugh-free Haunted House is Wayans' conception of a passion-fueled labor of love, it's horrifying to ponder what he'd consider a mercenary cash-grab.- Posted Jan 11, 2013
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Reviewed by
Noel Murray 33
LaLiberte is the best thing about Girls Against Boys. She has an unforced coolness, even when Chick sticks her with sub-Quentin Tarantino business, like having a conversation about the nutritional value of Captain Crunch, or singing along to not one, but two Donovan songs.- Posted Jan 30, 2013
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Reviewed by
Scott Tobias 33
The cutaways to this cop-on-the-edge plot are jarring and lacking in conviction, and when the whole tortured mess comes together in a twist-filled third act, Safe Haven becomes a full-blown calamity.- Posted Feb 13, 2013
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Reviewed by
Tasha Robinson 33
Beautiful Creatures is an oddball creation: a morality play with no basic understanding of morality.- Posted Feb 13, 2013
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Reviewed by
Mike D'Angelo 33
Bob Byington’s fifth feature — his best-known previous film was 2009’s equally gormless "Harmony And Me" — will play like the worst kind of performance art, in which contempt for conventional entertainment functions like a badge of integrity. You have to work pretty damn hard to make Nick Offerman this unfunny.- Posted Mar 6, 2013
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Reviewed by
Nathan Rabin 33
Dead Man Down exerts an unconscionable level of effort for minimal reward: It aspires to exquisite world-weariness, but just ends up feeling exhausted by its frenzied yet fruitless exertions.- Posted Mar 10, 2013
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Reviewed by
Nathan Rabin 33
It isn’t until Temptation grows flamboyantly bad in its final act that it rises to the level of good dumb fun in the trashy tradition of Perry’s most entertainingly awful films.- Posted Mar 29, 2013
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Reviewed by
Ignatiy Vishnevetsky 33
Erased is a snoozy, sputtering Euro chase flick—a sort of poor man’s Liam Neeson revenge movie.- Posted May 15, 2013
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Reviewed by
Keith Phipps 30
The junk-shop surrealism ultimately gets the better of everyone's good intentions. -
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Reviewed by
Noel Murray 30
A series of non-answers isn't enough to build a documentary on, especially when they're strung together by insufferably self-congratulatory voiceover narration (de Ponfilly plays up his agony over whether documentary filmmaking helps or hurts its subjects) and corny stylistic effects. -
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Reviewed by
Scott Tobias 30
It reduces a large cast to an unwieldy collection of simpletons and caricatures. -
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Reviewed by
Keith Phipps 30
The once-reliable Danes is a particular detriment, but it's really hard to care whether either character escapes from what looks like a really unappealing summer camp. -
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Reviewed by
Nathan Rabin 30
A repellent orgy of gratuitous violence and hackneyed melodrama, Deuces Wild marks a grim nadir for everyone involved, including late cinematographer John A. Alonzo (Chinatown, Harold & Maude), who deserved a much better swan song. -
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Reviewed by
Scott Tobias 30
Channels Toback in his purest form, which will probably be a treat for auteurists and a headache for just about everyone else. -
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Reviewed by
Scott Tobias 30
A major disappointment that lacks the courage to follow through on its premise's themes. -
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Critic Score 30
Hardman never gives her material a chance to develop, because she subjects it to so much forced drama and self-conscious nudging, and when she hits a wall, she gets silly. -
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Reviewed by
Nathan Rabin 30
Director Sam Weisman's pushy, subtlety-free direction certainly doesn't help. Martin is still capable of making a decent film, but The Out-Of-Towners isn't it. -
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Reviewed by
Keith Phipps 30
Through it all, Muccino piles on one shrill confrontation after another. At times, he seems headed for the melodramatic turf owned and operated by Pedro Almodóvar, but where the young Almodóvar would have deployed a prankish wit and the older Almodóvar scraped toward the humanity beneath. -
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Reviewed by
Nathan Rabin 30
Only succeeds sporadically, even if it's never quite the unwatchable monstrosity it so clearly could have been. -
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Reviewed by
Keith Phipps 30
Shakespeare hasn't had it this rough since Lemmy from Motörhead performed the opening soliloquy in "Tromeo And Juliet." -
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Reviewed by
Keith Phipps 30
Director Rob Bowman seems at a loss as to what to bring to the film, which, even with its good choice of leads, plods along from one dragon fight to the next, all of them staged to showcase Fire's impressive CGI dragons, but none choreographed with any real flair. -
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Reviewed by
Keith Phipps 30
Works equally poorly as a tourist brochure and as a drama. -
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Reviewed by
Nathan Rabin 30
A pathetic wallow, first in misanthropy and later in sentimentality. -
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Reviewed by
Keith Phipps 30
A mud bath of sentiment, strained speechifying, and gloppy music. -
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Reviewed by
Keith Phipps 30
This must all make sense to Yanes, somehow, but the film plays like a private joke with no punchline. -
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Reviewed by
Noel Murray 30
Becomes hard going the longer Baur stretches out the parade of narcissists, all spouting received wisdom, cultural clichés, and bad poetry. -
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Reviewed by
Keith Phipps 30
Aside from a promising scene involving a cornfield rave and the pyrotechnic potential for grain alcohol, it drags along, taking a small eternity to set up a final showdown that plays more like a bloody pro-wrestling event than the stuff of nightmares. -
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Reviewed by
Noel Murray 30
A series of third-act complications provides much-needed narrative surprise, but until then, The Three Marias is a disappointingly flavorless genre exercise. -
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Reviewed by
Nathan Rabin 30
A witless, bloody, unpleasant mismatched-buddy movie. -
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Reviewed by
Nathan Rabin 30
Malibu's screenplay inexplicably required the creative efforts of four screenwriters (including Kennedy), which works out to about half a funny gag apiece. -
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Reviewed by
Keith Phipps 30
Spade can still be funny when he lets himself be mean, and Dickie Roberts shows glimmers of that dynamic, but they're muscled out by lazy slapstick and maudlin stuff. -
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Reviewed by
Nathan Rabin 30
Civil Brand's aesthetic is pure mid-'70s blaxploitation, and not in an ironic or reverent sense. Even the heavy-handed political rhetoric is in keeping with the neo-blaxploitation vibe, since even bad blaxploitation movies often had revolutionary undercurrents. -
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Reviewed by
Keith Phipps 30
The Spanish import The Other Side Of The Bed takes a winning idea and drives it directly into the ground. -
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Reviewed by
Nathan Rabin 30
The film's only real bright spot is Seth Green, who, as Culkin's sidekick, brings Party Monster a droll wit it otherwise lacks. It's such a dreary mess that when Culkin insists that life in prison isn't too different from being a club kid, it's all too easy to believe him. -
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Reviewed by
Keith Phipps 30
Never recovering the energy of its early scenes, the heavily improvised Château becomes shapeless and dull. -
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Reviewed by
Scott Tobias 30
Impossible to swallow as truth, this Rambo treatment is equally hard to enjoy as escapism. -
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Reviewed by
Scott Tobias 30
In Dead Or Alive: Final, Miike trades his grimly comic, sex-and-blood insignia for a self-consciously wacky conflation of Hong Kong action cinema and Japanese anime, with a little cheap science fiction tossed in for good measure. -
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Reviewed by
Tasha Robinson 30
From the maudlin musical cues to a senseless romantic subplot that's only barely tacked on, every aspect of Evelyn stabs blindly and insistently at emotional buttons -- Beresford has made the feel-manipulated movie of the year. -
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Reviewed by
Nathan Rabin 30
Empire devolves into a bloody revenge thriller with an ending as primitive as its opening is convoluted. -
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Reviewed by
Keith Phipps 30
The first 20 minutes of Blast From The Past, in which the film actually does something with its central concept, aren't that bad. -
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Reviewed by
Keith Phipps 30
All the principals -- except, significantly, screenwriter Kenneth Lonergan -- reprised their roles for the sequel, and all seem confused as to why they returned. -
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Reviewed by
Scott Tobias 30
An aggressive black comedy that seeks to satisfy a bloodlust already quelled many times over. -
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Reviewed by
Nathan Rabin 30
Could and should have been a giddy, tongue-in-cheek action-comedy romp. Instead, it's a meandering action-drama, in which nearly all of the abundant laughs are unintentional. -
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Reviewed by
Scott Tobias 30
LaPaglia brings the hero into a world of greed and compromised values, but his fork-tongued monologues aren't remotely seductive, which makes the ending a foregone conclusion. -
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Reviewed by
Scott Tobias 30
Too often, Formula 51 fails to differentiate between gleeful excess and white noise. -
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Reviewed by
Nathan Rabin 30
The acidic Shakespearean family drama The Sea can't be faulted for lack of ambition. It can, however, be faulted for a fatal lack of heart. -
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Reviewed by
Scott Tobias 30
In the absence of sincerity, Cletis Tout creates a vacuum that flushes out the entire story, leaving nothing but its own hollow cleverness. -
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Reviewed by
Scott Tobias 30
Lawrence clamors for the spotlight. If he ever found a way to make desperation look like charisma, he'd be the funniest man in America. -
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Reviewed by
Nathan Rabin 30
As written and directed by newcomer Troy Duffy, The Boondock Saints is all style and no substance, a film so gleeful in its endorsement of vigilante justice that it almost veers (or ascends) into self-parody. -
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Reviewed by
Nathan Rabin 30
A frenetic, busy, expensive machine that looks good but runs on autopilot. -
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Reviewed by
Nathan Rabin 30
Diaz does what she can under adverse circumstances, but she doesn't come close to salvaging this ramshackle vehicle. -
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Reviewed by
Nathan Rabin 30
Rugrats Go Wild! represents one giant leap forward for corporate cartoon synergy, but one similarly large step back for the Rugrats franchise. -
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Reviewed by
Keith Phipps 30
Hardwick switches gears from wacky comedy to romantic drama about halfway through Deliver Us, but it's too late, and what follows is far too dull to make any difference. -
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Reviewed by
Tasha Robinson 30
Even the animation is imitative rather than inventive. -
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Reviewed by
Keith Phipps 30
Parker's film is flat beyond the flatness appropriate to the story; the conflict between Glover and Paymer follows Melville's original so squarely that it quickly begins to feel like they're going through the motions. -
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Reviewed by
Nathan Rabin 30
The main problem, however, is Tamra Davis' leaden direction, which prevents Half-Baked from developing comic momentum. There are a few scattered laughs. -
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Reviewed by
Scott Tobias 30
Basically a prim, desexualized "Carrie," told from the prom date's perspective and featuring Peter Coyote in the Piper Laurie role. -
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Reviewed by
Keith Phipps 30
Plays less like an exposé than a piece of exploitation, its clear divide between good and evil allowing no breathing room for real drama. -
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Reviewed by
Nathan Rabin 30
A dark comedy about speed freaks that feels like it was directed and edited by someone in the midst of a methamphetamine jag. -
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Reviewed by
Nathan Rabin 30
It seems content to plod listlessly through the motions. -
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Reviewed by
Nathan Rabin 30
Likely to appeal only to undiscriminating nudity-- and gore -- starved adolescents. -
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Reviewed by
Keith Phipps 30
Playing in theaters when it belongs on television, where snacks and bathroom breaks can counteract its punishing dryness, and the option of watching something else doesn't involve driving home. -
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Reviewed by
Scott Tobias 30
Bad Boys II is the rare case in which escapism involves leaving the theater. -
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Reviewed by
Scott Tobias 30
De Niro and Murphy are visibly uncomfortable with each other. Their improvisation seems chaotic and mismanaged, and the movie follows in kind. -
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Reviewed by
Keith Phipps 30
Yet another comedy that suggests someone should take Martin aside and remind him that he can do better. -
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Reviewed by
Nathan Rabin 30
Movies have the ability to make history come alive, but this dull period soap opera feels more like history that's already been embalmed. -
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Reviewed by
Nathan Rabin 30
A joylessly plodding film that cannibalizes Allen's classics of the '70s and '80s while managing only a few decent one-liners. -
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Reviewed by
Nathan Rabin 30
The energetic musical sequences help make it feel warmer and more ingratiating than it otherwise would, which is fortunate, since this rickety vehicle needs all the help it can get. -
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Reviewed by
Nathan Rabin 30
Not since "Battlefield Earth" pitted overacting, nine-foot-tall Psychlos against puny man-animals has there been an interspecies match-up this perversely uninteresting. -
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Reviewed by
Keith Phipps 30
Anyone who already knows better than to taunt the disabled, or former Oscar winners, should probably give it a pass. -
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Reviewed by
Noel Murray 30
What this Singing Detective really needed was to be reworked top to bottom, preferably by a writer fleeing some demons of his own. -
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Reviewed by
Keith Phipps 30
It's a lot to suffer through for a film that has nothing to say, but insists on saying it anyway. Repeatedly. -
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Reviewed by
Keith Phipps 30
It's also hard to figure out who this movie is supposed to delight: It's too scary for little kids and not nearly scary enough for anyone allowed to rent "The Ring" without getting carded. -
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Reviewed by
Keith Phipps 30
McKellen is fine, of course, but the film as a whole offers about as much insight into evil as Ming The Merciless in a “Flash Gordon” serial. -
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Reviewed by
Nathan Rabin 30
The film's sole redeeming facet is Mike Myers' rich, multilayered performance as Rubell: Simultaneously repulsive and charming, hedonistic and oddly paternal, Myers steals every scene he's in. It's a great performance that deserves to be in a much better film. -
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Reviewed by
Keith Phipps 30
Attempts at high spirits and the presence of Matthew Lillard all suggest that this is supposed to be a comedy. -
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Reviewed by
Keith Phipps 30
The film combines dour heroes with a drab look, and the string of "Don't try this at home"-style stunts should underwhelm even viewers too young for James Bond or XXX. -
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Reviewed by
Nathan Rabin 30
Hackman makes a plausible ex-president, but his graceful, lived-in performance is just about the only element of Welcome To Mooseport that rings true. -
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Reviewed by
Scott Tobias 30
There's no forgiving the home-movie slackness of Greendale for its numbing dearth of imagination. -
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Reviewed by
Scott Tobias 30
Opens with its snazziest effects sequences and gets cheaper from there, as if studio executives were constantly scaling back the budget as the filmmakers went along. -
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Reviewed by
Keith Phipps 30
Chow has a future in a America if given better material with which to work; here, he's wasted in a movie that's forgotten 20 minutes after the credits roll. -
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Critic Score 30
You can set your watch to the musical cues, and the songs themselves are forgettable at best, insipid at worst. -
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Reviewed by
Nathan Rabin 30
Though steeped in both subgenres, Never Die Alone subverts that vicarious enjoyment by showing violence and abuse so unrelentingly ugly that only a sadist could derive the least bit of pleasure from it. -
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Reviewed by
Nathan Rabin 30
There's gore aplenty here, but precious little suspense or terror. -
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Reviewed by
Nathan Rabin 30
Few actresses exude restless intelligence as effortlessly as Stiles, which is fortunate, since Martha Coolidge's film relies on that forceful charisma to make it past awful dialogue, contrived situations, and hokey use of Disney-style butterflies. -
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Reviewed by
Keith Phipps 30
When they (the family) arrive at their destination, the story arrives at an ending that's neither obvious nor interesting, kind of like the film leading up to it. -
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Reviewed by
Nathan Rabin 30
The least necessary sequel since "Agent Cody Banks" embarked on a London mission a few weeks ago. -
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Reviewed by
Keith Phipps 30
It's a sign of trouble when watching a movie prompts nostalgia for the movie it's ripping off, particularly when that movie wasn't any good. But walking out of Johnson Family Vacation, it's hard not to feel misty-eyed for the urine-soaked-sandwich gags, incest jokes, and other refined comic elements of "National Lampoon's Vacation." -
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Reviewed by
Keith Phipps 30
Sadly, The Punisher is about little more than bullets hitting bone, and how good it might feel to be on the right end of a gun. -
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Reviewed by
Scott Tobias 30
Nothing is more dangerous than a sequel to a wildly successful awful movie, because the artisans involved have to preserve the franchise, which means honoring the original formula as if it were a cure for cancer. -
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Reviewed by
Nathan Rabin 30
An unabashedly pop confection, but it's flat where it should fizz, lumbering when it should skip. -
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Reviewed by
Keith Phipps 30
Troy does look good--so good, in fact, that it takes a while to reveal itself as a thundering dud with much action but little personality, human drama, or brains. -
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Reviewed by
Keith Phipps 30
If there's one thing more heartbreaking than a crying child, it's a crying child wearing thick glasses, an image exploited numerous times throughout the course of the dull, uninvolving, tissue-thin Hope Floats. -
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Reviewed by
Keith Phipps 30
Emmerich now directs entirely in watered-down Spielbergisms, and his storytelling skills, never strong, have gone slack. His talent for stretching a concept that can be described in 10 seconds into a feature-length movie, on the other hand, remains impressive. -
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Reviewed by
Keith Phipps 30
Rudnick is a wit, and his script allows everyone a decent one-liner or two. But the problem with one-liners is that they only last one line, leaving a whole movie around them that needs filling in. -
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Reviewed by
Nathan Rabin 30
The popularity of Davis' strip represents the ultimate triumph of mediocrity, but even the cartoonist's competent hackwork deserves better than this. -
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Reviewed by
Keith Phipps 30
What a shame that The Hunting Of The President feels like part of the problem. -
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Reviewed by
Keith Phipps 30
If you've ever wanted to see Queen Latifah fatally attacked by jellyfish at the bottom of the ocean, Sphere is the movie for you. If you're looking for more, you're not going to find it here. -
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Reviewed by
Nathan Rabin 30
Darts around maniacally before congealing around a touchy-feely message of personal empowerment whose secular humanism and moral relativism is bound to strike fundamentalists of all stripes as downright Satanic. -
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Reviewed by
Tasha Robinson 30
With so many plot hooks and so many story demands, it's incomprehensible that Kaena spends so much time on meaningless action. -
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Reviewed by
Nathan Rabin 30
Though it never really taps into the whole JFK-as-alien-sex-fiend plot as a source of satire, Species 2 is still the superior piece of trash its predecessor should have been. -
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Reviewed by
Scott Tobias 30
The only redeeming moments come from Walken, whose assured, effortless screen presence stands out from his faceless co-stars. Taped to a leather chair and bleeding profusely from a severed finger, he's still the most powerful person in the room. -
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Reviewed by
Scott Tobias 30
Everly tries to patch together a profile out of borrowed news clips and shoddy videography. In the process, Frank's charisma and force never emerge. -
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Reviewed by
Nathan Rabin 30
A Cinderella Story banks far too heavily on its audience's affection for Duff, who's dreadful in a terrible role. -
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Critic Score 30
The matter-of-fact way in which the story is presented serves as a constant reminder of how implausible the whole thing is. Add to this the single expression Ormond and Byrne are allowed throughout the film, and you're left with one more weak, confusing, ignorable movie that embarrasses its source. -
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Reviewed by
Nathan Rabin 30
Buddy comedies rely heavily on their leads' chemistry, and in this regard, Without A Paddle fails. -
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Reviewed by
Keith Phipps 30
There's no pea soup, but sketchy effects, cheap jolts, swirling cameras, and buckets of blood surround Exorcist: The Beginning with the potent aroma of cheese. -
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Reviewed by
Keith Phipps 30
Has little to recommend it. A sterling example of how an unimaginative combination of interviews and archival footage can drain the life from even the most compelling topic, it feels padded at a mere 68 minutes. -
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Reviewed by
Nathan Rabin 30
Crude, grating. -
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Reviewed by
Nathan Rabin 30
Originally titled Lady Killers, this rancid, underlit B-movie aspires to little more than cheap laughs eked out of the discomfort and queasiness Owen and Friedle feel over sexually servicing assertive, kinky old women. -
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Reviewed by
Keith Phipps 30
Though it soon devolves into a laughable mess, The Forgotten at least spends its first 10 minutes or so raising provocative questions. -
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Reviewed by
Keith Phipps 30
Even without the difficult imagery, Breillat's grim observations on men, women, and sexual orientation, are tough to take. -
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Reviewed by
Nathan Rabin 30
Feels stitched together from bits and pieces of lame '80s buddy-cop movies. -
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Reviewed by
Nathan Rabin 30
Unrelentingly dreary, and seemingly destined to be remembered, if at all, as that movie Christian Bale lost a full third of his body weight for. It doesn't deserve any better. -
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Reviewed by
Scott Tobias 30
Though dumber than a box of rocks, Saw forges ahead with the kind of conviction and energy that will keep bad-cinema junkies sitting bolt upright. -
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Reviewed by
Nathan Rabin 30
A hysterically over-the-top backstage melodrama whose temperature seldom falls below overheated. -
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Reviewed by
Keith Phipps 30
When a sequel has to hit the reset button and take all its characters back to where they started, it probably didn't need to be made. -
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Critic Score 30
This appalling desecration of Jay Ward's 1960s cartoon series suffers from countless movie-ruining flaws. -
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Reviewed by
Nathan Rabin 30
It lacks the conviction to embrace its own garish awfulness, resulting in little more than tedious historical and patriotic hokum, a preposterous potboiler done in by slack pacing and pedestrian execution. -
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Reviewed by
Keith Phipps 30
Hard not to pelt the screen with rotten fruit when confronted with a film like Christmas With The Kranks. -
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Reviewed by
Nathan Rabin 30
A well-intentioned but ultimately incompetent Irish dud. -
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Reviewed by
Nathan Rabin 30
Adding an additional layer of cheese to a project that already reeks hopelessly of Velveeta, Schumacher pumps up the empty spectacle, stranding his fetching-but-lifeless mannequins amid giant sets and overblown production numbers. -
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Reviewed by
Scott Tobias 30
Chadha doesn't seem at home with either Austen or Bollywood, and her ambitions far exceed her competence in the song-and-dance numbers, which are a clutter of stiff choreography and silly original lyrics. -
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Reviewed by
Nathan Rabin 30
The film crawls to a halt, its pace further marred by anemic, time-wasting pop songs. Even at 72 minutes, Never Land feels padded, while the animators make Never Land so unmagical that war-torn London seems preferable by comparison. -
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Reviewed by
Keith Phipps 30
The best that can be said of Son Of The Bride is that it's attractively photographed. But, then, so was the Hindenburg explosion, and this packs far less excitement into its two shapeless hours. -
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Reviewed by
Keith Phipps 30
A fairly faithful adaptation of what a game is like, but without the pleasure of getting to play or the much-needed option of pressing the "off" button. -
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Reviewed by
Nathan Rabin 30
Like far too many junky post-"Sixth Sense" thrillers, Hide And Seek essentially exists for the sake of its third-act plot twist, but the climactic revelation merely pushes it from bad to worse. -
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Reviewed by
Keith Phipps 30
Mostly Boogeyman remains content to be a film about a boogeyman who hides in closets and under beds and gobbles people up. And for that, it deserves a certain amount of respect. On the other hand, the film could hardly be any sillier. -
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Reviewed by
Nathan Rabin 30
Revealing hitherto unseen depths of stiffness, Diesel stumbles badly in the role. -
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Reviewed by
Keith Phipps 30
The plot's profound implausibility wouldn't matter if the ideas and emotions behind it had any power. -
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Reviewed by
Nathan Rabin 30
A second-rate comedy and a third-rate drama, Melinda And Melinda gives viewers two unsatisfying movies in one. The only genuine tragedy here involves a once-brilliant comedy writer plunging further into a seemingly permanent artistic freefall. -
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Reviewed by
Keith Phipps 30
Some good Bob Dylan songs are called in to underline the big moments, but end up eclipsing them instead. There's more drama and insight in a snippet of "One More Cup Of Coffee" than the entirety of Jack & Rose. -
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Reviewed by
Nathan Rabin 30
Devotes its first two acts to establishing the comic monstrousness of all its characters. -
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Reviewed by
Nathan Rabin 30
In a self-conscious moment late in the action, one character says she feels like she's in a bad horror movie. No kidding. -
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Reviewed by
Scott Tobias 30
Though serviceable as a primer on Soviet history under Stalin, the film's sloppy assemblage of dull interviews and stock footage never comes close to illuminating a life that the Russian people have long cherished as a precious enigma. -
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Reviewed by
Nathan Rabin 30
A film this slipshod needs much more star-power than it's able to muster. -
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Reviewed by
Nathan Rabin 30
Sadly, the film's creaky, sometimes painful dialogue makes it all too easy to believe that it was genuinely co-written by a small child. -
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Reviewed by
Scott Tobias 30
In reviving the beloved Disney property, Robinson attempts to resuscitate the fast-motion shots and sub-Three Stooges physical comedy of classic Herbie, but the new model seems distantly related to the innocent, peppy little car of old. -
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Reviewed by
Tasha Robinson 30
Writer-director-producer-actor-composer-singer Soling claims to have spent a year researching the war on drugs before deciding to make a satire instead of a documentary, but he apparently threw most of his facts out the window in favor of absurdism, exaggeration, slander, and self-congratulatory humor. -
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Reviewed by
Scott Tobias 30
Between the performances in the bedroom and on stage, 9 Songs gives off plenty of heat, but the whole project seems half-thought-out and hastily arranged, hampered by butt-ugly DV photography that turn skin tones grimy and make the Brixton scenes look as high-grain as a bowl of Mueslix. -
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Reviewed by
Nathan Rabin 30
What's perhaps most surprising about European Gigolo is its reactionary streak, exemplified by knee-jerk attacks on Europe's equally knee-jerk anti-Americanism. Then again, that seems fitting. The sequel functions as the ultimate Ugly American, good for a few cheap, vulgar laughs and nothing else. -
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Critic Score 30
The resulting film is an example of how a film with camera and acting skills in its corner can still fall flat on its face. -
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Reviewed by
Nathan Rabin 30
The vapid teen talent show Undiscovered turns on a plot point so moronic that even the most dedicated bad-movie buffs have cause to stay away. -
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Critic Score 30
As boring as the special effects are, they far outshine the stultifying plot. -
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Reviewed by
Keith Phipps 30
Hoffman and Travolta are both good, but this toothless satire does little to justify their performances. -
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Reviewed by
Noel Murray 30
Reilly's appearance in Piggie amounts to little more than a cameo, but he's lively and real in ways that the rest of Bagnall's cast is not. It's the material's fault. -
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Reviewed by
Nathan Rabin 30
Unsurprisingly, the unimaginatively filmed but high-intensity gospel performances prove a highlight, radiating an energy and urgency that the film's stilted dialogue, awkward romance, and clunky plotting can only aspire to. -
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Reviewed by
Keith Phipps 30
Domino de-emphasizes the human element--not to mention such niceties as plot and clarity--to such a degree that only those who show up purely to watch combustibles go "boom" won't feel insulted. -
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Reviewed by
Nathan Rabin 30
It almost seems that Watts made a movie this intentionally scuzzy and low-rent as a severe form of penance to the gods of authenticity for the sin of making millions jet-setting around the world appearing in big, glamorous super-productions. But she goes too far in making the audience suffer as well. -
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Reviewed by
Noel Murray 30
She acts amazed by her own work, in hopes that we'll be too. To help the matter along, Lee underscores the action with a Mickey Mouse score, cutesy animation, and a relentlessly chipper tone. Her technique is pretty much everything that's wrong with documentary filmmaking today. -
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Critic Score 30
With the development of most characters truncated in order to concentrate on Sobieski (who looks eerily like a young Helen Hunt), the film proves pretty dissatisfying. -
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Reviewed by
Nathan Rabin 25
There's something depressing about seeing the low-energy, family-friendly Lawrence sleepwalk through the film's sappy plot points. -
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Reviewed by
Scott Tobias 25
The original should have been a short film; the new version shouldn't exist at all. -
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Reviewed by
Keith Phipps 25
Fans of the genre might appreciate the decidedly R-rated violence and nudity, but that's really all the film has to offer. -
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Reviewed by
Tasha Robinson 25
Underdeveloped antagonist Nick Chinlund sums up the entire film during one of his rants about Jovovich's latest casual, offhand slaughter: "One woman against 14 men! It's ridiculous!" Well, yeah. -
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Reviewed by
Keith Phipps 25
Bynes appears in practically every scene, and the film seems to have been designed as a showcase for her comedic skills, which she apparently left behind in the trailer. -
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Reviewed by
Nathan Rabin 25
Laughing at this turkey might not necessarily make you a redneck, but it sure does make you easily amused. -
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Reviewed by
Nathan Rabin 25
Fortunately, as a showcase for Sharon Stone's physique, Basic Instinct 2 is a rousing success. In every other respect, it's a colossal failure. -
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Reviewed by
Keith Phipps 25
Apart from a funny turn by "Arrested Development's" Will Arnett as Williams' evil boss, nobody appears to be having a good time. And the feeling is infectious. -
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Reviewed by
Scott Tobias 25
Just My Luck, a lazy spitballing session of karmic humor, hinged on the sort of generic rom-com contrivances that keep movies like these from ending at a reasonable time. -
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Reviewed by
Scott Tobias 25
The only rational explanation for how an abysmal no-budget film like Cavite could get released theatrically is that its makers, co-writer/directors Ian Gamazon and Neill Dela Llana, have come up with a from-the-headlines hook too big to deny. -
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Reviewed by
Nathan Rabin 25
Like the forgotten blaxploitation schlock it often resembles, the film aspires to nothing but cheap thrills, but while it's plenty cheap, it's far from thrilling. -
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Reviewed by
Nathan Rabin 25
It's never a promising sign when an attractive young woman's insatiable sexual desire for Danny DeVito represents the most convincing and compelling aspect of a movie, but that's the best this one can do. -
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Reviewed by
Scott Tobias 25
It shouldn't be surprising that writer-director Steve Oedekerk, the man responsible for "Kung Pow! Enter The Fist" and the second "Ace Ventura" movie, considers single-celled organisms as he shoots for the lowest common denominator. -
