Clint Worthington

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Consequence, RogerEbert.com
For 335 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 higher 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: 215 out of 335
  2. Mixed: 89 out of 335
  3. Negative: 31 out of 335
335 movie reviews
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    • 48 Metascore
    • 67 Clint Worthington
    Cat Person
    It works, at least for a while — until the real short story stops and it’s time to get rid of the ambiguity.
    • 48 Metascore
    • 42 Clint Worthington
    The Strangers: Prey at Night
    Simply put, Prey at Night sacrifices its own identity to drench horror audiences in throwback familiarity.
    • 48 Metascore
    • 58 Clint Worthington
    Godzilla: King of the Monsters
    In the end, King of the Monsters is too philosophical to be a good dumb movie, and too dumb to be that much fun.
    • 47 Metascore
    • 50 Clint Worthington
    Jimpa
    Jimpa is a story that feels like it’s arrived about a decade too late for its intended audience: Queer people want more from their rep than being anthropologically observed from the sidelines, and straight people have watched enough “Drag Race” to already be familiar with the concepts this film treats as novel.
    • 47 Metascore
    • 50 Clint Worthington
    Jack Reacher: Never Go Back
    It’s two solid hours of disposable, forgettable action-thriller filmmaking with a competent Cruise performance in the middle.
    • 47 Metascore
    • 50 Clint Worthington
    Kate
    Winstead may be a bonafide action hero, but the world around her just isn't interesting enough.
    • 47 Metascore
    • 42 Clint Worthington
    Shazam! Fury of the Gods
    Fury of the Gods tries to recapture what made the first Shazam! a disarming breath of fresh air, but it just can’t quite do it.
    • 47 Metascore
    • 50 Clint Worthington
    The Passion of the Christ
    It may exhaust you, it may offend you; it may guide you through Hell into something more revelatory. And how you receive the film may depend greatly on how you feel about the man who made it.
    • 46 Metascore
    • 50 Clint Worthington
    Gringo
    Gringo’s obvious debt to the works of Tarantino and the Coen brothers give it a tone that’s too arch and haphazard to keep the audience rooted in its characters. The movie’s sense of humor is about twenty years too old, manifesting in glib jabs at other characters’ expense for being fat, or mentally challenged, or poorly-endowed.
    • 46 Metascore
    • 50 Clint Worthington
    Now You See Me 2
    There are some marginal but still noticeable stylistic improvements in the sequel. John M. Chu (a veteran of music videos and Justin Bieber: Never Say Never) brings a peppy energy that Louis Leterrier’s first film lacked, especially when showing off the flashy spectacle of the Horsemen’s almost-superheroic magic abilities.
    • 46 Metascore
    • 42 Clint Worthington
    Bigbug
    It’s impressive what Jeunet is able to pull off with a shoestring budget, but the ideas and characters underpinning his visual imagination leave a lot to be desired.
    • 46 Metascore
    • 58 Clint Worthington
    Reminiscence
    When Joy lets us peek in these tiny, intriguing corners of her speculative world, Reminiscence comes alive the most. Otherwise, the rest of it fades like a memory you’d just as soon forget.
    • 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.
    • 45 Metascore
    • 50 Clint Worthington
    Doctor Jekyll
    At 90 minutes, one could hardly fault "Doctor Jekyll" for being languorous. But it's often too patient for its own good, content to slow-roll its inevitable outcome without giving us much to chew on besides Izzard and some cornflakes.
    • 45 Metascore
    • 42 Clint Worthington
    Angel Has Fallen
    Angel Has Fallen is maybe the least objectionable of the Fallen series, but that’s not really saying much, is it?
    • 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.
    • 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
    • 50 Clint Worthington
    Miracles from Heaven
    There are plenty of fantastic films with Christian messages, but Miracles From Heaven is more interested in simplistic proselytizing to a heavily evangelical market that just wants their own existing beliefs confirmed. This is what makes the film so frustrating to watch; for the vast majority of its runtime, it’s essentially a good (if not great) family drama.
    • 44 Metascore
    • 50 Clint Worthington
    Kingsman: The Golden Circle
    It’s a big, vulgar, Saturday morning cartoon of a film, to both its benefit and detriment.
    • 44 Metascore
    • 42 Clint Worthington
    The Legend of Tarzan
    Tarzan is too dull to offer consistent pulp excitement, too self-serious to let itself have fun, and too reliant on same-y CG spectacle to truly thrill.
    • 44 Metascore
    • 50 Clint Worthington
    The Belko Experiment
    Unfortunately, what The Belko Experiment delivers in face-twisting gore and deliciously taut suspense, it lacks in insight.
    • 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.
    • 42 Metascore
    • 42 Clint Worthington
    Inferno
    Inferno, much like its predecessors, simply can’t work its way out of the disappointing middle ground between a slick, technically competent thriller and tongue-in-cheek absurdity.
    • 42 Metascore
    • 50 Clint Worthington
    The Great Wall
    For Yimou’s colors alone, and one particularly striking set piece set in a kaleidoscopic stained-glass tower, The Great Wall may be worth the price of admission.
    • 42 Metascore
    • 50 Clint Worthington
    Deadfall
    Ostensibly, it’s a vehicle for Michael Biehn, whom no one else but James Cameron seems to know how to use properly, but everything else about the movie is forgettable.
    • 42 Metascore
    • 25 Clint Worthington
    Halloween Kills
    A sloppy, blinkered epilogue that wastes everyone's time.
    • 41 Metascore
    • 50 Clint Worthington
    Fear Street: Prom Queen
    Problem is, this doesn’t reinvent the formula as much as follows it by rote, which makes it an enormous step down.
    • 41 Metascore
    • 42 Clint Worthington
    Super Troopers 2
    Super Troopers 2 amounts to nothing more than a limp reunion tour where they seem to feel obligated to play the hits.
    • 40 Metascore
    • 42 Clint Worthington
    65
    If Sam Raimi were in the director’s chair, rather than just producing, imagine the kind of fist-pumping schlock feast we could have enjoyed.
    • 40 Metascore
    • 42 Clint Worthington
    Spiral: From the Book of Saw
    Spiral is a frustrating animal: In its first half, it styles itself as a prestige sequel/revamp of a cult horror series, lifting it from its nu-metal origins into a moodier, Se7en-styled police thriller. But despite its promising start, the latter half of Spiral succumbs to formula, like a bloodied Jigsaw victim fainting from their wounds so the blades can finish the job.
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