Clint Worthington

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Consequence, RogerEbert.com
For 333 reviews, this critic has graded:
  • 52% higher than the average critic
  • 6% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 0 points lower than other critics. (0-100 point scale)

Clint Worthington's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Rider
Lowest review score: 12 Hurry Up Tomorrow
Score distribution:
  1. Positive: 213 out of 333
  2. Mixed: 89 out of 333
  3. Negative: 31 out of 333
333 movie reviews
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    • 37 Metascore
    • 38 Clint Worthington
    The Super Mario Galaxy Movie
    The Super Mario Galaxy Movie moves through you so briskly that you’ll get whiplash by the time the film reaches its deeply abrupt ending. But maybe that’s the point—after all, this is not a movie to be scrutinized, but to allow beleaguered elder millennial dads to sit their tots down for a precious two hours (if you count the trailers) and get some much-needed rest. It’s cute, and breezy, and rock-stupid, and will probably make a billion dollars again.
    • 37 Metascore
    • 38 Clint Worthington
    Ice Road: Vengeance
    There’s nothing in “Ice Road: Vengeance” that isn’t in any given Redbox/Saban Films Neeson actioner you’ve seen in the last dozen years, and you’ll at least get to the good stuff quicker there.
    • 29 Metascore
    • 12 Clint Worthington
    Hurry Up Tomorrow
    Hurry Up Tomorrow takes its star’s caterwauling about how hard it is to be famous and heartbroken for granted, and expects its audience to roll with every self-inflicted wound. It’s vapid, meandering, and insistent on its own profundity as a tale of an artist reckoning with fame.
    • 27 Metascore
    • 25 Clint Worthington
    Shadow Force
    The sitcommy scenes of family arguments and droll wisecracks clash with the grimmer aesthetic Carnahan wants to give it, so “Shadow Force” feels like an action film serving two masters and fulfilling neither’s needs. It’s laughable, all right, but in all the wrong ways.
    • 33 Metascore
    • 38 Clint Worthington
    Old Guy
    This is a warmed-over remix of crime comedy and thriller tropes, as awkwardly paced as it is murkily shot.
    • 38 Metascore
    • 38 Clint Worthington
    Flight Risk
    As it sits in this passenger’s estimation, “Flight Risk” is a supremely bumpy ride that doesn’t quite justify its logline.
    • 37 Metascore
    • 25 Clint Worthington
    Star Trek: Section 31
    Star Trek fans have been waiting nearly a decade to see a proper film in the franchise since 2016’s sorely underappreciated Kelvinverse entry “Star Trek Beyond.” “Section 31,” a cynical whimper of a Trek adventure, isn’t likely to scratch that itch.
    • 49 Metascore
    • 38 Clint Worthington
    Y2K
    Y2K doesn't want to break stuff; it wants to dig it out of the trash and pine nostalgically for it. That's just not as interesting.
    • tbd Metascore
    • 38 Clint Worthington
    The Good Half
    Schwartzman's approach is sluggish and poorly-paced, the film color-corrected to within an inch of its life and unable to balance the delicate tightrope act of comedy and drama that good examples of this kind of movie can attempt.
    • 46 Metascore
    • 38 Clint Worthington
    IF
    IF is a well-intentioned misfire—a kid's movie without laughs and a parent's movie without purpose.
    • 31 Metascore
    • 33 Clint Worthington
    Rebel Moon Part 1: A Child of Fire
    In its current shape, Rebel Moon isn’t just boring; it feels hopelessly compromised.
    • 44 Metascore
    • 33 Clint Worthington
    Foe
    It’s difficult to overstate how badly Foe fumbles its heady premise and firecracker cast, a film so dependent on its biggest secret that it’s both predictable and hard to grasp by the time the trigger is finally pulled.
    • 22 Metascore
    • 16 Clint Worthington
    Children of the Corn
    There’s something particularly galling about the laziness of this one — its flimsy gestures toward topicality, the piecemeal nature of the whole thing — that makes its failures acutely horrifying.
    • 42 Metascore
    • 25 Clint Worthington
    Halloween Kills
    A sloppy, blinkered epilogue that wastes everyone's time.
    • 32 Metascore
    • 33 Clint Worthington
    The Hitman's Wife's Bodyguard
    Sure, it commits wholeheartedly to its bone-dead stupidity more than the first film. But it leaves a final product so scattered and uninspired that, less than 24 hours after seeing it, the vast majority of it escapes my memory.
    • 44 Metascore
    • 33 Clint Worthington
    Cherry
    There’s a fundamental disconnect between Cherry’s cynicism and Holland’s innate naivete that just makes the whole affair feel wrong somehow, not to mention crushingly long at nearly two and a half hours.
    • 44 Metascore
    • 25 Clint Worthington
    Willy's Wonderland
    Literally every ounce of entertainment value you can get out of Willy’s Wonderland comes from thinking about the premise itself: What if Nic Cage fought demonic versions of the mascots from Chuck E. Cheese? But the budget and the talent around Cage just wasn’t there, which robs Willy’s Wonderland of even the dumb, modest thrills promised on the packaging.
    • 58 Metascore
    • 33 Clint Worthington
    The Midnight Sky
    Fittingly, The Midnight Sky suffers from the same weightlessness as its astronauts — Clooney opens his big, wet soulful eyes, and Alexandre Desplat‘s overly-aggressive score lays on the emotion as thick as syrup, but none of it lands.
    • 39 Metascore
    • 33 Clint Worthington
    The Intruder
    In an age where “so bad it’s good” has lost much of its meaning in a sea of calculated camp, The Intruder may be one of the few films of recent vintage that truly qualifies.
    • 19 Metascore
    • 25 Clint Worthington
    Polar
    Every second grates and confuses in equal measure, with nary a thrill of inventive, exciting action filmmaking to break up the monotony.
    • 27 Metascore
    • 25 Clint Worthington
    The Happytime Murders
    It becomes clear all too quickly that “puppets say swears” is all the film has to offer, so it’s a slog to sit through the remaining seventy minutes of that same joke, repeated ad nauseam.
    • 38 Metascore
    • 25 Clint Worthington
    Mile 22
    A perversely fascinating mess from start to finish, Mile 22 is Berg’s most baffling attempt yet to make art out of the most virulent post-9/11 fears about terrorism and international espionage.
    • 61 Metascore
    • 33 Clint Worthington
    Sicario: Day of the Soldado
    The action scenes are tense and well-staged, and the performances are staggeringly effective. On a technical level, it’s a notable work of formal craftsmanship. But to what end?
    • 27 Metascore
    • 25 Clint Worthington
    Terminal
    Drawing from a host of late-nineties influences but doing nothing with them, Terminal is little more than a shallow exercise in dated crime movie pastiche.
    • 32 Metascore
    • 25 Clint Worthington
    Game Over, Man!
    Unfortunately, Game Over, Man! sacrifices all the brusque cleverness of their hit show for a warmed-over Die Hard parody that’s too self-indulgent to entertain anyone but the four goofballs who made it.
    • 37 Metascore
    • 25 Clint Worthington
    Baywatch
    When it comes down to it, Baywatch’s central sin is that it’s just…not funny.
    • 33 Metascore
    • 25 Clint Worthington
    The Space Between Us
    As with Collateral Beauty, Loeb piles on the ridiculous narrative twists to eye-rolling effect. The last twenty minutes of The Space Between Us are a rollercoaster ride of changing motivations, baffling character reveals, and overblown dramatic gestures that completely defy belief.
    • 25 Metascore
    • 33 Clint Worthington
    Gods of Egypt
    Gods of Egypt is a dull, meandering, plastic mess of pre-2002 CGI and performances as flat as the green screens behind them.
    • 26 Metascore
    • 25 Clint Worthington
    The Choice
    For a film that hinges so much on the chemistry and charm of its two leads, it’s tough to recommend The Choice on even those grounds.
    • 52 Metascore
    • 16 Clint Worthington
    Remember
    While Plummer tries his damnedest to anchor Remember in the high drama to which it aspires, Egoyan’s latest is best forgotten.
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