USA Today's Scores

  • Movies
  • TV
For 3,419 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 127 Hours
Lowest review score: 0 Idle Hands
Score distribution:
3,419 movie reviews
  1. Director Kevin Smith's tweets, jokes and sharp commentary after being denied a seat aboard a Southwest Airlines flight because of his girth were a lot more engaging than Cop Out, his new movie.
  2. Too much. The hackneyed story about an affluent damsel in distress who decides to fight her bully of a husband is simply too overdone.
  3. There's nothing worse than a boring behemoth.
  4. Ten minutes into the picture, you're searching the screen for life-support machines.
  5. Speaking of that middle-finger finale, there is one redeeming trait: At least it signals the end credits.
  6. Barrels around in manic fashion much like Carrey does in most of his movies. He's meant to be a fool for love, but mostly he's just bonkers.
  7. The cliché-laden dialogue, schlocky special effects and predictable plot are derivative; the movie is overwrought and lacks suspense.
  8. Balls of Fury makes "Dodgeball" look like high art. It'll be tough to crack a smile, let alone laugh, during this uninspired and sophomoric satire of sports movies.
  9. The best thing about A Good Day to Die Hard is its title.
  10. One of the more befuddling movies of recent years. The premise makes no sense, no matter how you turn it around in your head.
  11. A film of repetition, a bloody dance consisting of three steps: stab, scream, repeat.
  12. t's far too soon for an actress as vital as Jessica Lange to stoop to Bette Davis-Joan Crawford horror-hag histrionics. [6 Mar 1998, pg.04D]
    • USA Today
  13. xXx
    All you get here for paid admission is a long and terrific avalanche scene -- state of the art, no question. Then it's over and ready to melt away, much like memories of this movie.
  14. All cinematic creativity seems to have focused on devising the most repellent ways to maim and murder.
  15. A movie that gives marriage, homosexuality, friendship, firefighters, children and nearly everything else a bad name.
  16. A mongrel of a movie.
    • USA Today
  17. The transition from Hanna-Barbera animation to manic-barbaric live action falls flatter than a granite slab, from the first of many deadly stone-age wordplays - "Steven Spielrock Presents" - to the gross-out shots of dirty tootsies. [27 May 1994 Pg. 01.D]
    • USA Today
  18. Stuffing painters, writers and, naturally, Gustav Mahler (Jonathan Pryce) into about 90 minutes, the film comes off as little more than a handsomely mounted scorecard of sexual escapades.
    • USA Today
  19. Holmes, of Dawson's Creek, will be up the creek if she can't avoid movies like this. And so will you if you see it.
  20. As a condescening moron who natters on non-stop in this simplistic comedy, Elliott doesn't just wear out his welcome, he nukes it. [14 Jan 1994]
    • USA Today
  21. A putrid film that comes dead-weighted with hammy one-liners and a plot so silly it borders on comedy?
  22. Those who sit through this mindlessness get the booby prize.
  23. Maybe for the next installment, they can go off to college and find something better to do than making these silly movies.
  24. Defanged and drippy, the remake of 1939's The Women seems to have been made for the dullard granddaughters of the sassy, sharp society matrons in George Cukor's campy original.
  25. Wastes a moderately intriguing premise by filling it with laughably clichéd dialogue, one-dimensional characters and implausible turns of events.
  26. A cynical sex comedy that manages to be infantile and jaded at the same time.
    • USA Today
  27. Pytka may know how to push fizzy water, but he certainly can't make a punch line sparkle. [21 Aug 1989]
    • USA Today
  28. The Gambler is a hollow, overwrought and glibly cynical remake of a '70s drama about a self-destructive academic.
  29. Can't decide what direction it's going in. Some of the time it seems to be a standard teen sex comedy. Occasionally, it appears to be spoofing the genre. It concludes on a romantic, almost honorable note.
  30. It might be that Jarmusch (Broken Flowers) is experimenting with creating a pastiche of dreamlike sequences that audiences can interpret as they wish. Or it may be merely pretension and hubris that fuels such a stylized and insubstantial story.

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