Lou Lumenick

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New York Post
For 2,489 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 9.4 points lower than other critics. (0-100 point scale)

Lou Lumenick's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Band Wagon
Lowest review score: 0 Dirty Cop No Donut
Score distribution:
  1. Positive: 1,242 out of 2489
  2. Mixed: 549 out of 2489
  3. Negative: 698 out of 2489
2489 movie reviews
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    • 47 Metascore
    • 38 Lou Lumenick
    Full Grown Men
    Nicely photographed and has impressive sets; too bad there's so little going on that it seems long even at 78 minutes.
    • 78 Metascore
    • 25 Lou Lumenick
    Punch-Drunk Love
    Essentially a weird series of nonsequiturs. I'd rather be watching a sequel to the much-maligned "Little Nicky" -- a Sandler film that was at least trying to do something interesting -- than this failed experiment in fusing high and low culture.
    • 53 Metascore
    • 38 Lou Lumenick
    Sex and the City
    Feels like it was written and directed by an audience focus group in Omaha?
    • 13 Metascore
    • 0 Lou Lumenick
    Freddy Got Fingered
    So awful it qualifies as cruel and unusual punishment.
    • New York Post
    • 46 Metascore
    • 38 Lou Lumenick
    Autumn
    Autumn wants to do for Jean-Pierre Melville what "Reservoir Dogs" did for Hong Kong cinema, but this new film is a joyless exercise in film appreciation.
    • 24 Metascore
    • 38 Lou Lumenick
    See Spot Run
    Do your kids a favor - and take them to see something more worthwhile than the relentlessly vulgar and stupid See Spot Run.
    • New York Post
    • 46 Metascore
    • 38 Lou Lumenick
    How Do You Know
    This rambling, overproduced, tone-deaf melange of romance, comedy and drama is only slightly more engaging than Brooks' other feature this century, the unfortunate Adam Sandler vehicle "Spanglish" (2004).
    • 52 Metascore
    • 38 Lou Lumenick
    Bomb the System
    A mild, slow-moving drama that belatedly tries to argue that graffiti writers are political artists, not an urban blight.
    • 31 Metascore
    • 25 Lou Lumenick
    The Perfect Age of Rock 'n' Roll
    You'd be better off renting "Eddie and the Cruisers" (1983) than slogging through this latest, far more dire recycling of the same rock clichés.
    • 83 Metascore
    • 25 Lou Lumenick
    Under the Skin
    Tedious and pretentious.
    • 26 Metascore
    • 25 Lou Lumenick
    Supercross
    A collection of product plugs masquerading as a movie en route to home video.
    • 45 Metascore
    • 25 Lou Lumenick
    The Sum of All Fears
    A moribund attempt to exhume the Jack Ryan techno-thriller franchise with a severely miscast Ben Affleck, is truly the 20-megaton bomb among this summer's blockbusters.
    • 31 Metascore
    • 12 Lou Lumenick
    Get a Job
    Only Bryan Cranston, as Teller’s downsized dad, emerges with his dignity fully intact from Get a Job, whose scattershot direction is credited to Dylan Kidd (“Roger Dodger”).
    • 32 Metascore
    • 38 Lou Lumenick
    The Forger
    Soggy, strictly by-the-numbers crime thriller.
    • 34 Metascore
    • 25 Lou Lumenick
    On the Line
    More "it stinks" than *NSYNC.
    • 63 Metascore
    • 12 Lou Lumenick
    Biggie and Tupac
    This time out, Broomfield comes up with maybe enough halfway decent material for a 10-minute segment on a second-rate tabloid TV show.
    • 37 Metascore
    • 25 Lou Lumenick
    Charlie St. Cloud
    A maudlin and unintentionally hilarious romantic weepie.
    • New York Post
    • 42 Metascore
    • 38 Lou Lumenick
    Home of the Brave
    The apolitical and well-meaning Home of the Brave is predictable and maudlin.
    • 32 Metascore
    • 38 Lou Lumenick
    Night at the Golden Eagle
    Never decides whether it wants to be a black comedy, drama, melodrama or some combination of the three. The acting and direction are all over the map in this consistently depressing, if occasionally interesting, slice of life.
    • 68 Metascore
    • 38 Lou Lumenick
    Z for Zachariah
    Even an engaging performance by Margot Robbie as the proverbial last woman on Earth isn’t enough to save Z for Zachariah from becoming yet another ploddingly pretentious Sundance dud.
    • 35 Metascore
    • 38 Lou Lumenick
    For Greater Glory
    The sometimes painfully sincere and slow-moving For Greater Glory clearly aspires to be inspirational, but history won't cooperate. The Cristeros triumphed not because of their faith, but because the United States exerted diplomatic pressure to protect its oil interests in Mexico.
    • 25 Metascore
    • 0 Lou Lumenick
    Legends of Oz: Dorothy's Return
    James Franco, all is forgiven. His woebegotten “Oz: The Great and Powerful’’ is practically a masterpiece compared to this eyeball-gougingly ugly, charm-free animated musical sequel.
    • 35 Metascore
    • 38 Lou Lumenick
    Transformers: Revenge of the Fallen
    Dazzles the eye, numbs the mind and may cause deafness in some cases. Did I mention to bring along some Excedrin?
    • 78 Metascore
    • 38 Lou Lumenick
    The House of Mirth
    Anderson, in her first major non-Scully film role, is lethally miscast.
    • New York Post
    • 43 Metascore
    • 25 Lou Lumenick
    The Tempest
    A surprisingly unengaging and charmless fantasy from a director whose previous films ("Across the Universe," "Titus," "Frida") were, despite their other issues, never boring.
    • 27 Metascore
    • 25 Lou Lumenick
    The Women
    A total disaster.
    • 30 Metascore
    • 38 Lou Lumenick
    The Butterfly Effect
    So consistently silly and overwrought that it flirts with the elusive so-bad-it's-entertaining category.
    • 40 Metascore
    • 38 Lou Lumenick
    Tanner Hall
    A great-looking but wearyingly cliched and confusing vanity production.
    • 44 Metascore
    • 25 Lou Lumenick
    Funny Games (2008)
    The joke is on arthouse audiences who show up for Funny Games, which is basically torture porn every bit as manipulative and reprehensible as "Hostel," even if it's tricked out with intellectual pretension.
    • 75 Metascore
    • 38 Lou Lumenick
    The Wolf of Wall Street
    If you’re going to invest three hours watching a movie about a convicted stock swindler, it needs to be a whole lot more compelling than Martin Scorsese’s handsome, sporadically amusing and admittedly never boring — but also bloated, redundant, vulgar, shapeless and pointless — Wolf of Wall Street.
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