Joe Neumaier

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New York Daily News
For 1,351 reviews, this critic has graded:
  • 27% higher than the average critic
  • 3% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 16.3 points lower than other critics. (0-100 point scale)

Joe Neumaier's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Radio Unnameable
Lowest review score: 0 The Fourth Kind
Score distribution:
  1. Positive: 249 out of 1351
  2. Mixed: 796 out of 1351
  3. Negative: 306 out of 1351
1351 movie reviews
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    • 48 Metascore
    • 20 Joe Neumaier
    Admission
    The bad news about Admission is that this thin envelope of a comedy checks all the boxes for being a phoned-in, phony, padded rom-com.
    • 28 Metascore
    • 20 Joe Neumaier
    Love and Honor
    Hemsworth has presence, but he also represents this film’s biggest problem: It feels like a bunch of good-looking kids putting on a show.
    • 49 Metascore
    • 40 Joe Neumaier
    Starbuck
    A high-concept goof that’s hard-pressed to surmount its twee preposterousness.
    • 21 Metascore
    • 20 Joe Neumaier
    K-11
    Points for niche audaciousness, but that’s all.
    • 71 Metascore
    • 60 Joe Neumaier
    From Up on Poppy Hill
    Even with no wood sprites, witches or spells, there’s plenty of magic in this coming-of-age charmer.
    • 48 Metascore
    • 40 Joe Neumaier
    My Amityville Horror
    Lutz, who was a boy when his family fled the Long Island home, is full of belligerence in this chronicle of his family’s alleged run-in with a ghoulish home where a murder had occurred.
    • 28 Metascore
    • 20 Joe Neumaier
    If I Were You
    Hardworking Oscar winner Harden and beguiling Spanish star Watling do nothing for this haphazard film, which belatedly decides it wants to be a stage satire as the women lark into a ridiculous avant-garde production of “MacBeth.” Bloody awful.
    • 63 Metascore
    • 60 Joe Neumaier
    Spring Breakers
    So often not in his element — his turn in “Oz the Great and Powerful” is evidence of that — Franco is in freako mode here, and walks a line between spaced-out caricature and just plain Out There.
    • 33 Metascore
    • 60 Joe Neumaier
    Language of a Broken Heart
    Nothing terribly special here, but perfectly played and a spiritual cousin to such early ’90s indies as “Naked in New York” and “Ed’s Next Move.”
    • 79 Metascore
    • 80 Joe Neumaier
    Beyond the Hills
    The deliberate pace Mungiu employs in this incredible work is so engrossing and quietly heartbreaking that its philosophical ending may come as a shock.
    • 39 Metascore
    • 60 Joe Neumaier
    Dead Man Down
    Before it devolves into typical American-style action, there’s an intriguing, European-style complexity to Dead Man Down.
    • 48 Metascore
    • 40 Joe Neumaier
    Emperor
    Director Peter Webber (“Girl With a Pearl Earring”) fills the film with conciliatory emotion and jarring vistas of post-atomic landscapes. Unfortunately, Emperor needs more good ol’-fashioned swagger.
    • 35 Metascore
    • 40 Joe Neumaier
    The Last Exorcism Part II
    Now Bell can break out of the genre. She's served her time.
    • 58 Metascore
    • 40 Joe Neumaier
    Stoker
    Stoker is like the baby David Lynch and Tim Burton had, then left on the doorstep of the Addams Family. Full of heavingly gorgeous images that envelop a viewer before smothering them, its maddening elements eventually become too much to bear.
    • 68 Metascore
    • 100 Joe Neumaier
    A Place at the Table
    As important and eye-opening a documentary as you’ll see this year, A Place at the Table makes it impossible to think of hunger as merely another symptom of a shredded social safety net.
    • 57 Metascore
    • 40 Joe Neumaier
    Rubberneck
    The film works better as an uncomfortable character drama than as a murky family mystery, which Karpovsky deepens with some psychobabble. Still, a nicely sinister and shuddersome effort.
    • 65 Metascore
    • 60 Joe Neumaier
    Red Flag
    Owing a debt to Albert Brooks’ early comedies, Red Flag might be too much if it weren’t just right.
    • 37 Metascore
    • 20 Joe Neumaier
    Inescapable
    Muddled and inert despite the best intentions, this inescapably dull thriller plays like a Middle Eastern take on Liam Neeson’s “Taken.”
    • 51 Metascore
    • 40 Joe Neumaier
    Snitch
    Snitch is like watching an elephant on ice: inelegant, but you admire the effort.
    • 81 Metascore
    • 40 Joe Neumaier
    No
    The result was remarkable, but the story of it, while true to the moment, needed — ironically — much more dynamism.
    • 21 Metascore
    • 20 Joe Neumaier
    Saving Lincoln
    The movie’s gimmick is having the actors visually superimposed over sets created from actual Civil War photographs. But this collage effect, while striving for truthfulness, comes off like a View-Master version of a tale already told.
    • 61 Metascore
    • 40 Joe Neumaier
    The Jeffrey Dahmer Files
    All of that ends up making this movie — originally titled “Jeff,” in a telling bit of overpersonalization — feel like a late-night cable-news hack job.
    • 28 Metascore
    • 20 Joe Neumaier
    A Good Day to Die Hard
    Ultimately, even more than 2007’s “Live Free or Die Hard,” “Good Day” never lets McClane be McClane. Gone is his taunting snark and quick-witted preparedness; instead he seems like a jerk with a thing for guns.
    • 52 Metascore
    • 40 Joe Neumaier
    Ferlinghetti: A Rebirth of Wonder
    Sadly, the film gets mired in traditionalism, something the man himself always railed against. But worth a look for seeing intellectual bravery (still) at work.
    • 20 Metascore
    • 20 Joe Neumaier
    Would You Rather
    With a bit less grisliness, it could have been a mystery dinner-theater performance.
    • 76 Metascore
    • 60 Joe Neumaier
    Lore
    Australian director Cate Shortland’s straightforward approach to the blinders worn by Hitler Youth creates a disconcerting and eerie film, made even more memorable since it’s seen through the prism of childhood’s end.
    • 75 Metascore
    • 80 Joe Neumaier
    Side Effects
    The movie respects a viewer’s intelligence, which should also serve as a warning; don’t be lulled into a stupor. Keeping sharp will allow all the fun and menace in this terrific thriller to seep into your head.
    • 28 Metascore
    • 20 Joe Neumaier
    A Glimpse Inside the Mind of Charles Swan III
    Swan is so eager to be a trippy comic lark that it ends up resembling a clown trying to fit through a pea-shooter.
    • 17 Metascore
    • 30 Joe Neumaier
    Girls Against Boys
    This pseudo-punkster hybrid of "Heathers" and "Thelma & Louise" loses its way almost immediately, veering from wannabe-shocking social indictment to stultifyingly obvious yawner.
    • 48 Metascore
    • 40 Joe Neumaier
    Bullet to the Head
    Like Stallone, director Walter Hill is also far from his heyday ("The Warriors," "48 HRS.," "Streets of Fire"), but the old-guy camaraderie behind the scenes is evident. Despite the movie being based on a graphic novel, no one adds extra flash here just to appease the kids.
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