USA Today's Scores

  • Movies
  • TV
For 3,329 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Million Dollar Baby
Lowest review score: 0 Idle Hands
Score distribution:
3,329 movie reviews
  1. The martial-arts sequences take this prosaic thriller to a higher level.
  2. The actors take a back seat to computer-generated demonic images and apocalyptic special effects.
    • USA Today
  3. Imagine a movie so broadly conceived that it was written, directed and all parts were played by Charo — billed in her '70s heyday of Love Boat gigs as the "Cuchi-Cuchi Girl." That's what you get here.
  4. The fantasy segments, played up in trailers, get bogged down amid the ho-hum tale of a loser making good.
  5. The movie tries to be both comical and touching, as befitting the coming-of-age genre. But it feels forced, derivative and sometimes sappily sentimental.
  6. David Mamet handled such small-town whimsy better in 2000's "State and Main." Hackman could play his role in his sleep, but Romano IS asleep. Result: Welcome to Mildport, and that's being kind.
  7. This is an amusing vehicle for Gibson. At least this time, the bird doesn't fall off the wire. [10 Aug 1990]
    • USA Today
  8. A substandard ebony-and-ivory buddy pic.
    • USA Today
  9. Yet another foray into unnecessary 3-D, is a rehashed mishmash of Jonathan Swift's 18th-century classic. Mostly, it's a vehicle for Jack Black's zany humor.
  10. You've never seen a movie like Sucker Punch. And depending on your entertainment preferences, you may not want to.
  11. Love Happens is an oddly upbeat title for a movie that is surprisingly sad.
  12. Kid's tone is off 100% of the time. The young actors are irredeemably bland, and two of the adults (Michael Des Barres' bank president, James LeGros' Storm Trooper-like security guard) are hammy enough to make James Brown seem controlled.
  13. Pytka may know how to push fizzy water, but he certainly can't make a punch line sparkle. [21 Aug 1989]
    • USA Today
  14. RV
    Unfunny, sappy and massively predictable.
  15. All the obvious elements combine to manipulate the audience into a weepy time at the movies -- again.
  16. In this Amityville, the performances are bad, the special effects ho-hum, and it's not even particularly scary.
  17. The only good thing about Impostor is the appropriateness of its title for a film posing as the first 2002 release.
  18. It's one bad apple.
  19. This is not only unsuitable for children, it's a colossal waste of time at any age.
  20. A contrived, unpleasant and very drawn-out affair.
  21. For added heehaws, the normally dependable Nick Swardson comes along to act the ass and delve into some of Sandler's more nuanced scatological humor.
  22. This is about Meg. Only about Meg. Meg in the Middle.
    • USA Today
  23. Evil's one strong presence is lead Milla Jovovich -- and not because the script gives her supercop/soldier anything interesting to say.
  24. It may sound like a Peter Pan spinoff, and Dear Wendy does involve lost boys in a stagey setting, but the film is closer to "A Clockwork Orange" than a tale of lasting youth.
  25. Though it's meant to be pulse-pounding, After Earth is a lethargic slog.
  26. The only possible reasons to do this concept again is sheer laziness (it's easier to borrow an idea) and pure greed (it's cheaper to borrow an idea). [2 April 1999, Life, p.6E]
    • USA Today
  27. Don't buy a ticket for this one, even if the theater is having a fire sale on Raisinets.
  28. There's something about a plus-size floral housedress that brings out the best in many male comics, and Lawrence is no exception.
    • USA Today
  29. Although it's reasonably well-acted and offers a few certifiable jolts, feels awfully familiar.
  30. Though it has flashes of promise, Bones traces the footsteps of its fantasy film predecessors too closely to blaze anything close to an original narrative.

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