Paul Attanasio

Select another critic »
For 113 reviews, this critic has graded:
  • 30% higher than the average critic
  • 0% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 14 points lower than other critics. (0-100 point scale)

Paul Attanasio's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 100 Peggy Sue Got Married
Lowest review score: 0 Silver Bullet
Score distribution:
  1. Positive: 25 out of 113
  2. Negative: 32 out of 113
113 movie reviews
    • 52 Metascore
    • 30 Paul Attanasio
    The script of Three Amigos (Martin's collaborators were producer Lorne Michaels and singer Randy Newman) plays like it was slapped together by a few friends with a tape recorder enjoying a charming weekend at the beach. You can't tell one amigo from another, the gags are silly (a "singing bush") and far between, the dialogue full of inane wordplay. Sample: "We could take a walk and you could kiss me on the veranda." "The lips would be fine."
    • 22 Metascore
    • 10 Paul Attanasio
    It's the kind of stuff you come up with when you're not trying very hard, and on Spies Like Us, nobody seems to be trying. And that can be very trying indeed. [09 Dec 1985, p.C3]
    • Washington Post
    • 24 Metascore
    • 10 Paul Attanasio
    Watching Maximum Overdrive is like sitting alongside a 3-year-old as he skids his Tonka trucks across the living room floor and says "Whee!" except on a somewhat grander scale...It's hard to even imagine a movie so impeccably devoid of everything a movie ought to include. [29 July 1986, p.C2]
    • Washington Post
    • 26 Metascore
    • 0 Paul Attanasio
    What follows is about as suspenseful as looking at your watch to see which minute will pop up next.
    • 25 Metascore
    • 10 Paul Attanasio
    If this guy tripped over a print of "Citizen Kane," he not only wouldn't know what it was, he'd hit somebody over the head with it. [24 May 1986, p.C1]
    • Washington Post
    • 40 Metascore
    • 30 Paul Attanasio
    There is some magnificent stunt work, which only underscores how inadequate Moore has become. Moore isn't just long in the tooth -- he's got tusks, and what looks like an eye job has given him the pie-eyed blankness of a zombie. He's not believable anymore in the action sequences, even less so in the romantic scenes.
    • 38 Metascore
    • 25 Paul Attanasio
    Summer Rental is the kind of movie that could make you wish you had poison ivy -- at least the scratching would occupy your mind. [10 Aug 1985, p.D7]
    • Washington Post
    • 28 Metascore
    • 25 Paul Attanasio
    As you watch Howard the Duck, you get the vivid sensation that you're watching not a movie, but a pile of money being poured down the drain. [02 Aug 1986, p.G10]
    • Washington Post
    • 54 Metascore
    • 30 Paul Attanasio
    Heckerling seems lost and distracted here -- the framing is careless, and the film moves with a stuttering pace. Why is this talented director being channeled into projects like this?
    • 61 Metascore
    • 30 Paul Attanasio
    This new western is less than a success for Eastwood, who directs as well as stars. It's Eastwood riding on earnestness, and running on empty. [28 June 1995, p.D1]
    • Washington Post
    • 17 Metascore
    • 12 Paul Attanasio
    It takes a director with a true genius for disaster to put together SCTV veterans John Candy and Eugene Levy, the fine character actors Kenneth McMillan and Robert Loggia and the delicious new comic actress Meg Ryan and come up with a movie without a single laugh in it. Indeed, who but Mark Lester could have pulled it off? Lester's idea of directing is to turn up the music and wreck a lot of cars -- this isn't a movie, it's a Volvo ad.
    • 24 Metascore
    • 25 Paul Attanasio
    Just Police Academy all over again, without laughs.
    • 53 Metascore
    • 30 Paul Attanasio
    2010 is a one-man tour de fizzle, a yawnfest so plodding it seems to have been made by the famous monolith itself. [7 Dec 1984, p.D1]
    • Washington Post
    • 21 Metascore
    • 37 Paul Attanasio
    Some sort of combination of a teen-age Bewitched and a Police Academy for department stores.
    • 41 Metascore
    • 37 Paul Attanasio
    A ridiculous rabble-drowser with the heart of a bully and the soul of a thief.
    • 58 Metascore
    • 30 Paul Attanasio
    The kids are uniformly godawful, particularly the lamentably named Phoenix; their wooden line readings play in long, flat scenes that look like some 12-year-olds' school project. And talking about the movie's sense of pace is like talking about Pikes Peak's sense of pace. Explorers is a veritable jungle of thematic and story threads that are never picked up. [12 July 1985, p.D6]
    • Washington Post
    • 49 Metascore
    • 25 Paul Attanasio
    There are movies that make you want to mince words, and then there's Poltergeist II: The Other Side, a movie so ineffably bad, you can't even find the words to mince. [23 May 1986, p.D2]
    • Washington Post
    • 33 Metascore
    • 30 Paul Attanasio
    Chong breathes some occasional life into Soul Man, as does Arye Gross, who displays a rich variety of comic attitudes as Mark's roommate. What surrounds them, though, is a black comedy with so little gumption, it ends up a vague shade of gray, composed of a collection of cheap jokes excused by smug platitudes about race -- in short, a movie called Soul Man whose soul, it seems, is quite lost.
    • 71 Metascore
    • 30 Paul Attanasio
    In Mad Max: Beyond Thunderdome, a great deal of engine noise and clanking iron is drowned out by the audience's resounding ho-hum. It's comic books in a Cuisinart, all costumes and cute monikers and no story, a sort of case history of just what's wrong with sequelitis. [10 July 1985]
    • Washington Post
    • 29 Metascore
    • 30 Paul Attanasio
    The movie is one of those can't-miss projects that, uh, misses...Altogether, this is about the most listlessly paced thriller you could imagine: Ashby's penchant for letting his actors improvise just results in endless dithering; and the image is weirdly flat -- the movie's shot almost entirely in profile. Actually, there aren't just 8 million ways to die -- now we know there are 8 million and 1. [25 Apr 1986, p.D2]
    • Washington Post
    • 29 Metascore
    • 20 Paul Attanasio
    Here is a Neil Simon movie with all of his banality, but none of his humor -- a sort of "The Nod Couple." [30 March 1985, p.G3]
    • Washington Post
    • 60 Metascore
    • 30 Paul Attanasio
    From the opening shot, an endless, unmotivated dolly move up a corridor that conveys no information, establishes neither theme nor setting and serves no other purpose, you know that you are in the presence of true film ineptitude, which only deepens as The Decline of the American Empire continues.
    • 67 Metascore
    • 37 Paul Attanasio
    True Stories is united not by narrative, but by Byrne's sensibility, and this is where it descends from being a boring piece of whimsy into something reprehensible.
    • 37 Metascore
    • 30 Paul Attanasio
    Golan and Bruner, in other words, have made the Holocaust into just another tear-jerking tool for the Cannon Productions shlockenspiel. This is called "chutzpah." The unoffended will find that the movie doesn't even deliver on its own sordid level. There isn't any action till 70 minutes into the film.
    • 31 Metascore
    • 30 Paul Attanasio
    Reinhold has a face that is halfway between leading-man handsome and Donald Duck, and a relaxed, drawling confidence with a line -- he seems to float not above the action but on it, like oil on water. And he seems to survive Head Office, a comedy so confused and cowardly it makes television look daring. [4 Jan 1986, p.D4]
    • Washington Post
    • 55 Metascore
    • 30 Paul Attanasio
    The Mission is everything a movie should be -- magnificently produced, epic in scope, serious in theme -- everything, that is, but good. Hamstrung by an unworkable script, the disastrous casting of Robert De Niro and, presumably, the strain of shooting in the Colombian jungle, director Roland Joffe' has come up with an indigestible lump of sanctimony that rarely goes beyond its good intentions.
    • 37 Metascore
    • 30 Paul Attanasio
    Krush Groove is a kind of "Purple Drizzle," partly because of the story, which is scattershot; mostly because of the music, which isn't music at all, but rap, that tired fad of worn-out rock critics. [1 Nov 1985, p.B4]
    • Washington Post
    • 23 Metascore
    • 20 Paul Attanasio
    Toward the beginning of Turk 182!, Terry the fireman (Robert Urich) brays, "Gimme annudda beeah, Hoolie." Audiences should understand that this is their cue to leave the theater. In the movie's condescending populism, The People are enshrined, The System is scorned. And The People say: phooey. [16 Feb 1985, p.C6]
    • Washington Post
    • 30 Metascore
    • 25 Paul Attanasio
    Everything about The Heavenly Kid is ripped off, from a sprig of music that apes the Beverly Hills Cop theme to Gedrick, who was obviously cast because he looks like Tom Cruise, but cheaper. [26 July 1985, p.D2]
    • Washington Post
    • 55 Metascore
    • 30 Paul Attanasio
    So when the movie turns out drab and predictable, it's depressing -- you think Hill has become a stranger to his own sensibility. [24 March 1986, p.C3]
    • Washington Post

Top Trailers