For 6,906 reviews, this publication has graded:
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34% higher than the average critic
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3% same as the average critic
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63% lower than the average critic
On average, this publication grades 7.8 points lower than other critics.
(0-100 point scale)
Average Movie review score: 54
| 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: 2,530 out of 6906
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Mixed: 3,060 out of 6906
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Negative: 1,316 out of 6906
6,906
movie reviews
- By critic score
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Reviewed by
Mark Holcomb 20
The pivotal plot twist isn't hard to predict, and Brit theater vet Hamm and screenwriter Mark Bomback rely on jolts that date back to the silent era. -
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Reviewed by
Joshua Land 20
Coming off a memorable supporting turn in Starsky & Hutch, Snoop Dogg is sadly underutilized as the stoner pilot. -
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Reviewed by
Michael Atkinson 20
Wallows in the same affected retro stylishness as the earlier film (Croupier), suffers from the same lack of narrative focus, and is just as choked with clichés. -
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Critic Score 20
Holy Man's traipse through the wilds of consumerism and higher purpose must have seemed like a chance for the proverbial stretch, but not even Eddie can save this ill-conceived mess of a movie. -
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Reviewed by
Mark Holcomb 20
Burt Reynolds turns up as scruffy mountain man, sparking unfulfilled expectations of some primo Deliverance jokes. -
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Critic Score 20
This skin-deep flick is merely art-school sophomoric, unwittingly cornball, and counterrevolutionary. -
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Reviewed by
Ben Kenigsberg 20
In the crass, endless Mind the Gap, Schaeffer dares to ape "Magnolia," telling five barely connected stories with all the grace of a juggler tossing open bottles of Drano. -
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Reviewed by
Joshua Land 20
If the recurring gag about Grandma's suicide attempts doesn't have you rolling in the aisles, there's always the domineering aunt whose husband sits at the kiddie table. -
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Critic Score 20
Strong performances are marred by a script whose dialogue ranges from cheesy to unspeakably bad. -
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Critic Score 20
Despite its misguided comic pretensions, this brazenly unimaginative caper movie is most effective as a feature-length infomercial for its location, which will here remain undisclosed. -
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Reviewed by
Dennis Lim 20
By the end of this wholly disorienting experience (this must be what it's like to be held captive in a Long Island supper club and force-fed hallucinogens), there's only one thing we damn well know, and it's that Kevin Spacey sure as hell believes he was born to play Bobby Darin. -
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Critic Score 20
Rarely has a film's tagline been more fitting: "Some secrets should never come to light." -
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Reviewed by
Melissa Anderson 20
Feel-good historical fiction, The Aryan Couple insultingly seeks to soothe and comfort against the reality of atrocity. -
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Critic Score 20
Every alkie downward-spiral cliché from "The Lost Weekend" to "Leaving Las Vegas." -
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Reviewed by
Michael Atkinson 20
Endearingly pretentious -- as if it swallowed a thick brick of Beckett and can't pass the uncooperative Beckettian stool. -
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Reviewed by
Mark Holcomb 20
Sidesteps any juicy subtext in favor of routine chase-movie thrills. -
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Reviewed by
Jessica Winter 20
Brimming with fatuous "clever" dialogue and gorgeous women swooning over Schaeffer-played boors, the like-sounding titles denoted a vain, smarmy Woody Allen acolyte drowning in his own reflection. -
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Reviewed by
Jessica Winter 20
Ends up waddling its way toward gentler, mistier climes, stopping just shy of "Doubtfire" country. It doesn't run out of smelly steam so much as downshift and become a different movie. -
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Reviewed by
Jessica Winter 20
Elicits not the voluptuous discomfort stirred by the boys' (Peter and Bobby Farrelly) best corporeal shenanigans but creeping embarrassment for everyone on screen. -
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Reviewed by
Joshua Land 20
It's difficult to remember a recent movie with less regard for spatial or temporal coherence. With the bar set so low, one wouldn't think the ending could possibly come as a letdown. Believe me, it does. -
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Reviewed by
Jessica Winter 20
The film has exhausted itself with fits of glib hysteria long before its truly stupefying final twist, a stunning betrayal of audience trust. -
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Reviewed by
Benjamin Strong 20
The movie is monotonous, storyless, and at under 100 minutes, interminable. -
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Critic Score 20
This would-be comedy about a thirtysomething family man (Attal) and his foray into infidelity is probably the worst in the putrid bushel of recent Gallic imports. -
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Critic Score 20
Charlie Murphy's hilarious gay gangsta, relegated to the filmic down low, provides a modicum of depth in an otherwise supremely shallow effort. -
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Reviewed by
Michael Atkinson 20
The blood is raspberry syrup, the gags gag, and the film virtually falls over itself informing us how lame it is. -
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Critic Score 20
Sadly, instead of situating the l'amour fou in the artistic ferment of the period (1917-1920), Davis twists the period to fit the story. -
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Critic Score 20
Its action sequences, more geeky than thrilling, fail to rescue the laughable plot. -
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Critic Score 20
At least the title's accurate: This is a viewing experience that feels like it will never end. -
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Reviewed by
Ben Kenigsberg 20
"It is a study of the psychopathologies of perversions," co-director Federico Sanchez says in the press notes for Eternal, which is certainly one way to rationalize a trashy lesbian vampire flick. -
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Reviewed by
Ben Kenigsberg 20
Whether it's the guitar-strum soundtrack, "lyrical" cornfield shots, or arrhythmic performances, Steal Me has at least one indie-film cliché too many. -
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Critic Score 20
"School Ties" heartthrob Randall Batinkoff and the rest of the cast make do with wooden lines and a plot that fails to jell. -
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Reviewed by
Akiva Gottlieb 20
This micro-budget amateur-acting exercise plays like "The Anniversary Party" without the frisson of marquee performers behaving badly. We get F-listers playing at being marquee performers behaving badly. -
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Reviewed by
Akiva Gottlieb 20
Henry Jaglom's latest study of contemporary female obsessions among a noxious clan of West L.A. bourgeoisie is of more pathological than cinematic interest. -
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Critic Score 20
Spectacularly incompetent, Don't Tell races into self-parody before the end of the opening credits. -
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Reviewed by
Ben Kenigsberg 20
Feels motivated by envy more than anything else-it's a sour, petty act of mockery that values its own ineptitude over genuine cleverness, travestying Quentin Tarantino and others simply for dreaming up gimmicks that worked. -
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Reviewed by
Mark Holcomb 20
This Dick & Jane is precisely the kind of social-problem comedy you'd expect from well-intentioned millionaires unaccustomed to putting their money where their mouths are. -
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Reviewed by
Jessica Winter 20
Ledger's deadpan baritone pumps wit into his tepid one-liners like collagen into a wilted starlet's kisser, and the clumsy staging might not grate so much if the tone weren't so self-congratulatory. -
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Reviewed by
Laura Sinagra 20
Maybe it's the terrible lighting, but Friend-out-of-water Aniston spends most of this flick looking like she needs Dustin Hoffman to bang on the glass and get her out of this mess. -
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Critic Score 20
Westby never provides a reason you should pay to spend 70 minutes with Scotty, but he offers at least a dozen compelling ones not to. -
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Reviewed by
Mark Holcomb 20
Rote sequel that surely no one was waiting for: Like the serially thwarted Death (the only "character" to return from the first two Final Destination movies), audiences are required to endure banal exposition and junior-high-level foreshadowing before being treated to the nauseatingly detailed scenes of CGI slaughter. -
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Reviewed by
Benjamin Strong 20
Drearily pretentious, Sexualis has even less softcore appeal than an American Apparel ad. -
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Reviewed by
Dennis Lim 20
The title's pointedly incorrect pronoun is typical of the film's obtuse childishness. -
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Reviewed by
Ben Kenigsberg 20
Ironically, Leiner's two monuments to pothead delirium seem vastly more coherent than this hazy attempt to mine the zeitgeist, a film every bit as pointed as its nounless title. -
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Critic Score 20
Mini is impossible to like, especially since she delivers some of the worst narration ever spoken, and her final lines are like a big middle finger to viewers foolish enough to enjoy the film. -
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Reviewed by
Robert Wilonsky 20
Writer-director Bart Freundlich (Moore's husband) has nothing to say and nowhere to go with this material, except to the most contrived ending this side of a "Will & Grace" episode. -
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Critic Score 20
For such a poorly made autobiopic to earn a theatrical release, Nwamu must have some friends in high places. -
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Critic Score 20
That's the movie--desperate grasps, huffy affronts, gulping kisses, and one juicy (if silent) sex scene, early in the film, before our senses have been deadened by boredom. Without dialogue, we don't know who the characters are, so we can't care about what they do. -
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Critic Score 20
The results are neither profound nor funny, but merely uncomfortable. A hubristic failure at risky humor, The Tiger and the Snow provides Benigni his own Michael Richards moment. -
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Reviewed by
Ella Taylor 20
Director Paul J. Bolger and screenwriter Rob Moreland have drained the affectionate wit out of the Shrek franchise's satire, giving us instead a barely sketched out story line and quantities of unimaginative CGI. -
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Critic Score 20
The Wayward Cloud fails as allegory, human story, anti-porn screed, postmodern musical, and even formal delight (Tsai's emptied-out aesthetic has never felt so empty, his mannerisms so pointlessly mannered), but it seems to have worked well enough as a necessary purge. -
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Critic Score 20
It's a ponderous, plodding, visually dull picture, but the blame shouldn't be put on Snyder's skills per se, and has nothing to do with his ambition to blur the distinction between CGI and photography. Frankly, it's the slavish, frame-by-frame devotion to Miller's source material that's the problem. -
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Critic Score 20
While the mystery doesn't engage, Davlin keeps you off guard with his film's weird rhythms, bouncing from family drama to romance to macabre mood piece without much warning. How he and Zane manage to make such dreck almost tolerable is the real mystery here. -
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Critic Score 20
Short-changing issues of race and wearing its heart way out on its sleeve, it's the film's amateur exposition that's most dumbfounding -- poised to provoke more sarcasm than righteous indignation. -
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Critic Score 20
Stern's direction is reticent where it should be nervy, and the chemistry-free cast of mostly New York stage actors appears to have been chosen for its discomfort with dialogue such as "Come hither!" and "Get thee from me!" Ye have been warned. -
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Reviewed by
Amy Taubin 20
Martin's grin-and-don't-bare-it performance lifts the picture above sitcom level. [31 Dec 1991] -
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Reviewed by
J. Hoberman 20
See it if you must, but don't forget to pack the Air Wick. These breezy doings are mustier than a Glitter Gulch casino at 4 a.m. -
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Reviewed by
Amy Taubin 20
That in such a miserable film I could still care whether his character lived or died is, perhaps, the greatest proof that Chow Yun Fat's a movie star. -
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Reviewed by
Jessica Winter 20
The Governess is too dirty-minded to fit the Merchant Ivory mold but not salacious enough to qualify as bodice-ripping laff riot. [04 Aug 1998] -
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Reviewed by
Robert Wilonsky 20
It marks an unfortunate low point in the history of recent American comedy. There goes Steve Carell's perfect game. -
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Critic Score 20
The past decade has been less kind to Dahl, and though his latest, called You Kill Me, has the outward appearance of a return to form, it may in fact be the worst thing he's ever done--an inert, tone-deaf mélange of "The Sopranos" and "Six Feet Under." -
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Reviewed by
Nick Pinkerton 20
Any resonance from that real-life atrocity gets smothered by a script that interlaces clichéd dialogue so tightly as to block out any glint of recognizable human behavior. -
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Critic Score 20
A retarded sense of meta is achieved whenever Leto's Chapman goes on about the phony theatrics of film actors, but it's Lindsay Lohan, as über–Lennon fan Jude, who breaks your heart, looking convincingly horrified that she has three undeserved Razzies while Leto has none. -
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Critic Score 20
Manages to be as toothless as he (Boll) is tasteless. Poorly framed, tone-deaf, and nonsensical (yet still Boll's best!). -
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Reviewed by
Nick Pinkerton 20
August seems to be missing something essential--a prologue? Or maybe it's not what's missing that's the problem, but what's here. -
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Critic Score 20
Trivial, commercially calculated ensemble drama (porn! pot! rock music!), which plays like a non-musical "Rent," or a faux-edgy "Shortbus" for kids raised on "American Pie." -
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Critic Score 20
Take has the audacity to excuse its bad cinematic habits as figments of both Saul and Ana's imaginations. -
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Reviewed by
Nick Pinkerton 20
The scattershot America the Beautiful recapitulates vintage "Beauty Myth" trumpery. -
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Reviewed by
Nick Pinkerton 20
The worst kind of bastard adaptation, Secret subtracts without adding. -
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Critic Score 20
The Longshots strains so hard to inspire, every moment underlined with a by-the-numbers score, that it ends up totally innocuous. -
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Critic Score 20
You may begin to wonder if Lee really initiated this project or if it only fell into his hands after Roberto Benigni proved unavailable. -
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Reviewed by
Ella Taylor 20
Isn't so much incompetent as it is hopelessly tame and muddled. -
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Reviewed by
Robert Wilonsky 20
How ironic that a movie filled with police officers should end up feeling like a hostage situation. -
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Critic Score 20
Year of the Fish is the kind of really bad movie it takes a lot of misplaced conviction to make. -
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Reviewed by
Ella Taylor 20
Less a movie than a charm offensive beamed at those who thought "My Big Fat Greek Wedding" was a masterpiece. -
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Reviewed by
Nick Pinkerton 20
Ball, who can't conceive of human motives beyond the hypertrophic, smutty sexuality that's his stock in trade, primly divides his characters into avatars of Sick Repression or Healthy Liberation. -
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Reviewed by
Robert Wilonsky 20
Greg Kinnear, usually kinetic, is unusually (and unbearably) dull. -
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Critic Score 20
For all the potential of this coming-of-age/political-awakening tale, Choose Connor undoes itself with an egregiously sordid turn. -
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Critic Score 20
Director and co-writer Randall Miller is so ill at ease with the basic building blocks of the genre that Nobel Son quickly announces itself as one of those misbegotten clunkers where almost every creative decision isn't just wrong but tone-deaf. -
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Reviewed by
Ella Taylor 20
Nodding, winking, and sighing, The Lodger lumbers its way to a final twist so anticlimactic and silly as to warrant an incredulous titter. -
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Critic Score 20
Alas, Chandni Chowk to China, directed by Nikhil Advani, is asymmetrical in the extreme: shapeless, shameless, and slapdash. -
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Reviewed by
Robert Wilonsky 20
The one genuine bright spot among the performers is Kristen Bell as Windows's would-be girlfriend, his dream combination of Sarah Michelle Gellar and Janeane Garofalo. -
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Reviewed by
Melissa Anderson 20
Plays like both a supremely outmoded chick-lit adaptation and an outrageously obscene gesture as the economy continues to swallow up livelihoods, homes, and hope. -
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Critic Score 20
Not so much a "Big Chill" knockoff as a poor man's Whit Stillman comedy, this pretentious gab-fest from trial lawyer-turned-filmmaker Alan Hruska (Nola) feels like it traveled through a wormhole after someone watched "Metropolitan" in 1990. -
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Critic Score 20
Approaches its ideas of reverse racism and the hypocrisies of tolerance with a heavy hand and odious moralizing. -
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Reviewed by
Nick Pinkerton 20
Mena Suvari, as Art's vindictive ex-fuckbuddy, gives sole signs of life--Miller is so void of presence that one can forget she's in the movie from scene to scene. -
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Critic Score 20
If this is one small step for the actor (Efron) toward becoming a leading man, it is, for Hollywood movies, one more giant leap into infantilism. -
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Reviewed by
J. Hoberman 20
A tale of absolute self-absorption and unconscious revelation. -
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Reviewed by
Ella Taylor 20
Someday, a wise and potent film will be made about the Holocaust's legacy on succeeding generations. Posing as a study in evil, Death in Love is claptrap that confuses bile with art. -
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Critic Score 20
Has more fantastically blunt, clunky, and downright laughable teen-sex dialogue per minute than anything this side of Larry Clark. -
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Reviewed by
J. Hoberman 20
In Jackson's hands, The Lovely Bones is doubly appalling. Part Disney's "Alice in Wonderland," part Fritz Lang's "M," the movie is horrific yet cloying, alternately distended and abrupt, sometimes poignant and often ridiculous. -
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Critic Score 20
Watching this garish fiasco, I found it mildly depressing to see Streep hurdling through this gauntlet of strained whimsy, her every toothy smile and throaty chortle more affected than Sophie Zawistowski's Polish accent. -
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Critic Score 20
The writer's most successful works--"The Three Burials of Melquiades Estrada" and "Amores Perros"--were bolstered by directors who brought genuine emotion to the screen, but The Burning Plain marks Arriaga's behind-the-camera debut, and his obviousness is staggering. -
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Critic Score 20
In case we don't get that this is pretentious bullshit, David mentions how much he likes Bergman's "Persona." Later, to hammer it home, he admits that he's been trying to be a cooler person by succumbing to peer pressure by seeing "art films" and listening "to certain bands that actually suck." -
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Critic Score 20
As a film, Brief Interviews With Hideous Men is a disaster. -
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Critic Score 20
It is, perhaps, best not to expect too much from the directorial debut of Grace Kelly's ex-hairdresser; still, How to Seduce Difficult Women is woefully incompetent and ugly. -
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Critic Score 20
A well-intentioned but dull, video-ugly documentary if it weren't partly financed by its subject, the Service Employees International Union (SEIU); that just makes it a crappy infomercial. -
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Reviewed by
Nick Pinkerton 20
The drubbing score leaves one nearly insensate to the fact that Rodgers has nothing original or even interesting to say about his subject, flattening fine points of scripture to recommend interfaith group hugs. -
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Reviewed by
Melissa Anderson 20
To Save a Life wants to rescue kids from the Satanic messages of "Gossip Girl"--a benign, even worthy enough objective, but must alternatives to empty, materialistic adolescence require baptism in the Pacific? -
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Critic Score 20
The film hints at progressive themes...soon disregard both in the service of a hokey gangsta plot. -
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Critic Score 20
Might've made for a progressive film if director and co-writer Rick Famuyiwa (Brown Sugar) hadn't pandered to the lowest common denominator with brainless screwball laughs. -
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Reviewed by
Nicolas Rapold 20
Campanella, who overconfidently takes his time, outfits the film with ludicrous interrogation scenes, a drunken colleague who provides comic relief and redemptive tragedy, and a climactic flood of memories that plays like a trailer. -
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Reviewed by
Ella Taylor 20
Director Daniel Barber's lame handwringing about the root causes of youthful alienation forms a thin veneer over the real purpose of this self-important piece of rubbish--to hold us hostage to the director's bottomless appetite for spurious depravity. -
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Reviewed by
Nick Schager 20
From an opening newsreel biography to a climactic Viking funereal ceremony, the film's absurdity proves oppressive, its linguistic cartwheels so mirthless, and its meticulous Wes Anderson–indebted set design and visual compositions so self-conscious, that the ridiculousness feels petrified. -
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Reviewed by
J. Hoberman 20
An insufferable exercise in cutie-pie modernism, painfully unfunny and precious to a fault. -
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Reviewed by
Nick Pinkerton 20
Ten interviews with 10 "name" American and European directors--including Todd Haynes, David Lynch, Bernardo Bertolucci, and Catherine Breillat--diced into a documentary as asinine and fawning as its title suggests. -
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Critic Score 20
Too bad Pappas limits any critical perspective on this project to brief, superficial discussions with a handful of wealthy "artists" at their Hamptons homes whose connection to the filmmaker or the documentary's subject remains unspecified. -
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Reviewed by
Michael Atkinson 20
Earthsea seems to be a stupendously dull place. It would try the patience of any kid. -
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Reviewed by
Nick Pinkerton 20
When every injury is repaid with interest, this self-destroying work has nowhere to go but to the credits. Such symmetry is a dismal, barbarian sort of perfection. -
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Critic Score 20
Ripped from the headlines and sensationalized for your would-be pleasure, Inhale uses the appalling phenomenon of illegal organ trafficking as the basis for an almost-as-appalling hyperventilated thriller.- Posted Oct 21, 2010
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Critic Score 20
A schmaltzy family comedy that won't pass the smell test for kids, parents, or even stoner second cousins, Knucklehead is too sluggish for young attention spans, and not inventive enough to keep adults engaged.- Posted Oct 20, 2010
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Critic Score 20
The whole time I was watching Wild Target, I was trying to figure out just how to explain its weirdly old-fashioned comedic tone. I could talk about its absurd plot...- Posted Oct 26, 2010
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Critic Score 20
Buried somewhere in Zwick's film might be a topical modern romance, maybe even a health care satire, but you'd need to dig past layers of creative desperation to find it.- Posted Dec 13, 2010
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Reviewed by
Nick Schager 20
Romanycheva exudes cunning carnality, yet her wiles are as rote as the rest of this B-grade genre flick, which feigns interest in post-Communist Eastern European power dynamics but favors listlessly staged shoot-outs and heists devoid of emotional, psychological, or sociopolitical substance.- Posted Dec 15, 2010
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Reviewed by
Nick Pinkerton 20
It is draggily paced and lacks felicity of form; the 3-D is a rip-off and the songs are pap, save a snippet of Etta James singing "At Last" while Bieber's glossy fringe sways in slow-motion.- Posted Feb 8, 2011
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Reviewed by
Nick Schager 20
Not a single arresting image is found amid the sci-fi rubble, though unintentional laughs eventually arrive courtesy of a cornball motivational speech by Eckhart's hero.- Posted Mar 9, 2011
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Critic Score 20
Thick with stale "We're Jewish!" and inconvenient-boner jokes, the film's a post-"Office," shaky-cam sitcom pilot stretched to feature length.- Posted Mar 22, 2011
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Critic Score 20
It's hard to imagine a more calculating, creatively bankrupt piece of real estate than The Hangover Part II.- Posted May 25, 2011
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Reviewed by
Nick Schager 20
As if written by a robot whose frame of reference wasn't human reality but merely fairy-tale romantic comedies, Love, Wedding, Marriage strips genre tropes down to their scrawny, brittle bones.- Posted May 31, 2011
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Reviewed by
Nick Pinkerton 20
It is part of the film's premise that the movies are only a pretext to serve personal needs. Given how little the murky finished product offers an outside audience, this comes across all too convincingly.- Posted Jun 21, 2011
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Critic Score 20
Even if The Ledge couldn't be written off as a hollow polemic, there's also the lifeless drama, laughable dialogue, chintzy sets, and poor lighting to grapple with.- Posted Jul 5, 2011
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Reviewed by
Michael Atkinson 20
Can only be appreciated if you don't let guileless amateurishness, or chronic mumbling, ruin your evening.- Posted Jul 12, 2011
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Reviewed by
Nick Pinkerton 20
A pretend poison pen letter to Hollywood sleaze and excess, Prince of Swine is in fact Toma's application to join the club - hopefully denied.- Posted Sep 13, 2011
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Reviewed by
Nick Schager 20
Despite an A-list roster, the performances are universally one-note, a fact largely attributable to a script overflowing with blunt dialogue and heavy-handed symbolism.- Posted Oct 11, 2011
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Critic Score 20
Unfortunately for Quaid, director Martin Guigui's pathetic thriller doesn't even have the pulse-pounding excitement of a second-tier Scooby-Doo mystery.- Posted Jan 3, 2012
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Critic Score 20
Schaeffer can't be trusted or believed as a broken man - he's got no humility.- Posted Jan 24, 2012
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Critic Score 20
Perhaps the most charitable thing that can be said about the 143-minute marathon My Way - with a reported budget of almost $25 million, the costliest Korean motion picture ever produced - is that it does nothing by halves.- Posted Apr 17, 2012
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Critic Score 20
Too odd to be funny, too cold-hearted to be tragic, Hick is an infuriating muddle.- Posted May 8, 2012
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Reviewed by
Nick Pinkerton 20
It is plodding, lazily filmed, gassy with James Horner's score, and pads its runtime only by way of tolling repetition.- Posted May 29, 2012
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Critic Score 20
Lean, nasty, and patently absurd, The Tortured plays like one long scream of agony.- Posted Jun 12, 2012
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Reviewed by
Nick Schager 20
Fans of incessant flashbacks and endless whooshing zooms into close-ups will find much to love about Assassin's Bullet; less satisfied, alas, will be those with a fondness for lucid plotting, compelling intrigue, and credible performances.- Posted Jul 31, 2012
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Reviewed by
Nick Pinkerton 20
Christian "Direct-to-Video" Slater lends not a shred of credibility to the role of Craig MacKenzie.- Posted Aug 5, 2012
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Reviewed by
Nick Schager 20
Incapable of energizing Mark Poirier's leaden script (based on his own novel), Christopher Neil directs with a mechanical blandness made more tedious still by a score of gentle guitar strumming so aggravatingly benign it might inspire you to partake in one of Wendy's climactic, cathartic primal screams.- Posted Aug 7, 2012
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Reviewed by
Nick Schager 20
Even caped do-gooders couldn't save Supercapitalist, a dramatic dud whose title refers not to some big-business hero but rather to wheelers and dealers living lives of swank suits, fast cars, loose women, plentiful drugs, and goofy corporate-espionage spy games.- Posted Aug 7, 2012
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Reviewed by
Melissa Anderson 20
Fifty years after her death, the actress's corpse is still being picked over with ever-diminishing returns, as evidenced in Liz Garbus's garish, misguided documentary.- Posted Nov 27, 2012
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Critic Score 20
Visually unspectacular and emotionally stillborn, The Sorcerer and the White Snake fails as both a fantasy and a romance.- Posted Feb 6, 2013
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Reviewed by
Nick Schager 20
Shanghai Calling eventually reveals itself to be just another stale tale about the virtue of morality over ambition.- Posted Feb 12, 2013
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Critic Score 20
Almost in Love has audacity and theatrical immediacy working for it. There's also some really impressive sound design. And that's it, pretty much.- Posted Feb 12, 2013
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Reviewed by
Michael Atkinson 20
Patronizing from toe to chin, the film opts continually for self-congratulation and cheesy aphorism, and could've-should've been comfortable slotted into a half hour of airtime on TJC.- Posted Feb 26, 2013
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Reviewed by
Nick Schager 20
Between the cast's modern hairstyles and attitude, and the paint-by-numbers set design and period costumes...the action comes across as a prolonged, dreary game of dress-up. That director Danny Mooney shoots his material like a TV show doesn't help.- Posted Mar 19, 2013
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Reviewed by
Michelle Orange 20
The charms of what might charitably be called Silver Circle's homemade look and feel are limited.- Posted Mar 19, 2013
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Reviewed by
J. Hoberman 20
Professional obligations required that I endure it, but there's no reason why you should.- Posted Mar 19, 2013
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Reviewed by
Aaron Hillis 20
Attempts to transform meet-cute romance into an absurdist fatal-attraction thriller, but ends up neither fish nor fowl.- Posted Apr 16, 2013
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Critic Score 20
Once Upon a Time in Brooklyn's vision of the Mafia comes filtered through a needlessly complex screenplay, as if the creators felt the need to prove they've seen a few Arnaud Desplechin films alongside Goodfellas.- Posted Apr 30, 2013
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Reviewed by
Robert Wilonsky 20
The X-Men franchise takes a giant leap backward and off a cliff with its fourth offering.- Posted May 1, 2013
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Reviewed by
Chuck Wilson 20
Aftershock is incompetently made and morally muddled, but since talent, morality, and Mr. Roth have never been on speaking terms, we're not exactly surprised.- Posted May 9, 2013
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Reviewed by
Nick Schager 20
A respectable cast and much noisy boisterousness isn't enough to generate a single laugh.- Posted May 14, 2013
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Reviewed by
Inkoo Kang 20
The script's programmatic feel-goodery smooths out everything strange and noteworthy about Dean and Mei Mei's relationship into an unmemorable and unconvincing blandness.- Posted May 14, 2013
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- Posted May 18, 2013
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Reviewed by
Jessica Winter 10
The Kid's denouement resembles the nightmare that would have transpired had execs foisted a toupee and a happy ending on "12 Monkeys." -
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Reviewed by
Ed Park 10
Preachy and humorless, Eban and Charley shocks only by the quality of its numbing solipsism. -
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Reviewed by
Mark Holcomb 10
It's the summer's most disingenuous movie -- a real achievement in a waning season that included Tim Burton's "Banana Splits" remake. -
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Reviewed by
Michael Atkinson 10
Costner's not a mannered showboat, and what we get isn't a riff—it's a semi-oblivious glimpse of bitter outlaw banality. -
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Reviewed by
Laura Sinagra 10
This flat run at a hip-hop "Tootsie" is so poorly paced you could fit all of Pootie Tang in between its punchlines. -
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Reviewed by
Dennis Lim 10
Even from deep in a K-hole, you'd need about 10 seconds to figure out the remaining plot twists in this jaded muscle-queen morality tale. -
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Reviewed by
Amy Taubin 10
So extremely stupid and incompetent, I doubt that even the most impartial critic could find much to praise. -
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Reviewed by
Michael Atkinson 10
A stinky dumpster for sentimental dung about homelessness and the magical mecca that isn't Manhattan. -
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Reviewed by
Nick Rutigliano 10
If all-out headache-nausea-braindeath is what you crave, Whipped's available. -
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Reviewed by
Ed Park 10
It's about following your dreams, no matter what your parents think. Socrates motions for hemlock. -
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Reviewed by
Michael Atkinson 10
A self-adrenalizing, self-destructing pop-culture whirligig. -
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Reviewed by
Amy Taubin 10
Valentine isn't exploitative or trendy in the manner of so many indie films. Rather, it seems like the kind of art film that might have been dreamed up by a feverish high schooler. -
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Reviewed by
Michael Atkinson 10
Clearly the product of an editing-room scramble, New Best Friend is a self-lambasting farce, despite Kirshner's passionate college try at establishing a third dimension in a brain-dead movie flatland. -
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Reviewed by
Jessica Winter 10
This dreadfully earnest inversion of the "Concubine" love triangle eschews the previous film's historical panorama and roiling pathos for bug-eyed mugging and gay-niche condescension. -
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Reviewed by
Mark Holcomb 10
This perky would-be consciousness-raiser dilutes a potentially interesting subject -- interracial marriage -- with half-baked platitudes, self-conscious acting, and a plot trite enough to be rejected by the PAX channel. -
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Reviewed by
Michael Atkinson 10
Contrived and contrived sloppily, this self-adoring soap even manages to make its all-Hispanic cast seem unconvincing -- except for Seda. -
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Critic Score 10
The only rationale for the production seems to be that the pair were gay, and therein lies the main problem with this uninspired example of queer-film-festival filler. -
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Reviewed by
Melissa Anderson 10
From the auteur who assaulted us with "Sleepless in Seattle" comes a more punishing film. -
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Reviewed by
Mark Holcomb 10
Griffin and Solvang's obliviousness, and the filmmakers' habit of mugging condescendingly while conducting interviews doesn't help either. -
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Reviewed by
Amy Taubin 10
Despite its incoherence and inaudible dialogue, this slice-of-life film manages to be simultaneously thuggish and platitudinous. -
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Reviewed by
J. Hoberman 10
The film seems dimly aware of its own ridiculousness, but it lacks the constitution for self-mockery. -
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Reviewed by
Ed Park 10
Contains exactly three decent jokes, all stuffed in the last 15 minutes. -
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Reviewed by
Mark Holcomb 10
This overhyped slashfest fails to rise above the extravagant pointlessness that plagues inferior anime. -
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Reviewed by
J. Hoberman 10
As overlong and undermotivated as it is absentmindedly incoherent. -
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Reviewed by
Dennis Lim 10
The journey is a yawn -- an outpouring of backstory, punctuated by cute episodic diversions and ill-advised running gags. -
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Reviewed by
Amy Taubin 10
The queasiness it makes you feel is more like acid reflux than existential nausea. -
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Reviewed by
Edward Crouse 10
Thuds away at the now familiar New York turf of Jews and their mating habits. -
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Reviewed by
Michael Atkinson 10
The clichés lap like bay waves, from the salutes to the brotherly brawl to the olive-oil tear streaks semipermanently painted down Jackson's cheeks. -
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Reviewed by
Amy Taubin 10
Mindless, shoddy (lurching zooms, no color correction, an entire reel out of sync) depiction of some very big guys who work as bouncers. -
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Reviewed by
Dennis Lim 10
It's never clear, by the way, why any of this is supposed to be even remotely funny...This is the kind of movie asinine enough to believe that the mere juxtaposition of sadistic violence and a jaunty tune on the soundtrack is, in itself, clever. -
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Reviewed by
Michael Atkinson 10
Doesn't even have earnestness going for it -- a tepid, blindly assembled post-noir. -
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Reviewed by
Michael Atkinson 10
The fiercely original Eddie Izzard is wasted in this botch, not something you could say for lucky millionaire Friend Matt LeBlanc. -
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Reviewed by
Ben Kenigsberg 10
As technically amateurish as it is narratively ludicrous. -
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Reviewed by
Ed Park 10
The only drama is in waiting to hear how John Malkovich's reedy consigliere will pronounce his next line. -
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Reviewed by
Mark Holcomb 10
A valueless kiddie paean to pro basketball underwritten by the NBA. -
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Critic Score 10
Next to this, even "Mean Machine's" painless soft-tissue spikings and fast-fixing broken limbs are believable -- and way funnier. -
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Reviewed by
Michael Atkinson 10
Too amateurish to lampoon or evoke either film industry, Bollywood/Hollywood is a movie that owes its presence in theaters to a certain ethnic soccer comedy still circulating like a virus. -
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Critic Score 10
Shamelessly purports to be "the first major studio comedy to reflect the Hispanic cultural experience in America," but the only place you're likely to find such shrill and whitewashed caricatures is in the elitist pages of ¡Hola! -
