Neil Genzlinger

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The New York Times
For 551 reviews, this critic has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 11.9 points lower than other critics. (0-100 point scale)

Neil Genzlinger's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Newtown
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
  1. Positive: 176 out of 551
  2. Mixed: 274 out of 551
  3. Negative: 101 out of 551
551 movie reviews
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    • 25 Metascore
    • 30 Neil Genzlinger
    My Dead Boyfriend
    My Dead Boyfriend desperately tries to look and sound like a quirky indie hit, but that’s not an achievable goal when you have an unlikable lead character indifferently rendered by a name star.
    • 48 Metascore
    • 30 Neil Genzlinger
    Death Defying Acts
    Ms. Zeta-Jones is too elegant for the lowlife she's supposed to be, Ms. Ronan isn't endearing enough to be a ragamuffin, and, under Gillian Armstrong's direction, never for a minute do you believe they're mother and daughter.
    • 45 Metascore
    • 30 Neil Genzlinger
    Prescription Thugs
    Even before a “do as I say, not as I do” twist costs it all credibility, Prescription Thugs is a not very good documentary about a very important subject.
    • 21 Metascore
    • 30 Neil Genzlinger
    General Education
    Among the problems with the humorless comedy General Education is that the lead character's sister is more interesting than he is, and she spends much of her screen time as a mute mime.
    • 42 Metascore
    • 30 Neil Genzlinger
    Backstreet Boys: Show 'Em What You're Made Of
    It is insight-free and cliché-heavy, with the five sharing obvious reminiscences about the thrill of superstardom, visiting haunts from their youth, shooting baskets and occasionally rehearsing.
    • 35 Metascore
    • 30 Neil Genzlinger
    Java Heat
    The film, directed by Conor Allyn, is rarely more than a few minutes away from a gun battle or a tedious chase, and soon you cease to care who is shooting at, or running from, whom or why.
    • 25 Metascore
    • 30 Neil Genzlinger
    Hatchet III
    Too busy with limb-severings and gunfire to bother being intelligent.
    • 52 Metascore
    • 30 Neil Genzlinger
    Bare
    The Sarah character isn’t developed well enough to make her journey enlightening or involving.
    • 39 Metascore
    • 30 Neil Genzlinger
    Moonwalkers
    Though Mr. Grint and Mr. Perlman both come off credibly, the movie is practically laugh-free.
    • 29 Metascore
    • 30 Neil Genzlinger
    Vehicle 19
    This one is well photographed, yet it’s still just a lot of cars and noise.
    • 25 Metascore
    • 30 Neil Genzlinger
    Rushlights
    When it comes to film plotting, too many twists just result in an annoying tangle. And there are too many twists in Antoni Stutz’s uninvolving Rushlights.
    • 28 Metascore
    • 30 Neil Genzlinger
    McCanick
    The dour McCanick banks way too much on what it is not telling us, making for a movie that thinks it’s being cryptically suspenseful but is really just annoying.
    • 22 Metascore
    • 30 Neil Genzlinger
    A Love Affair of Sorts
    The real problem here, though, is that noting the it's-all-about-me nature of modern life already feels like a point that no longer needs making. Yeah, we're self-absorbed and shallow; so what else is new?
    • 53 Metascore
    • 30 Neil Genzlinger
    Brother Nature
    Every new generation has to learn the lesson: Comedy success on the small screen doesn’t guarantee the same on the big screen. If anything, it guarantees the opposite.
    • 39 Metascore
    • 30 Neil Genzlinger
    Arthur and the Invisibles
    The computer-generated world is visually rich, but short on the droll humor that makes good children's films bearable for adults.
    • tbd Metascore
    • 30 Neil Genzlinger
    37: A Final Promise
    It’s an awkward mix of sentiment, underdeveloped relationships and rock ’n’ roll pretensions, and it never quite gels into the “Love Story” for the 21st century that it wants to be.
    • 43 Metascore
    • 30 Neil Genzlinger
    A Dog's Purpose
    You don’t need an animal-rights group’s boycott to give you permission to avoid A Dog’s Purpose. You can skip it just because it’s clumsily manipulative dreck.
    • 41 Metascore
    • 30 Neil Genzlinger
    Hell Baby
    The film, written and directed by Robert Ben Garant and Thomas Lennon, rarely dares to be smart, settling instead for familiar gags that would have the Devil himself yawning.
    • 32 Metascore
    • 30 Neil Genzlinger
    The Viral Factor
    The Viral Factor wants to be both an action movie and a soap opera. But the merging of the two genres by Dante Lam, a director based in Hong Kong, is clumsy, and so is the film.
    • 34 Metascore
    • 30 Neil Genzlinger
    Addicted to Fresno
    You can get away with this sort of thing if your humor is sharp, but here it’s mostly sophomoric and rarely surprising.
    • 39 Metascore
    • 30 Neil Genzlinger
    The Kill Hole
    The film grasps for credibility with scenes of a support group (featuring some real veterans) and cryptic voice-overs that strive for profundity but achieve only pretentiousness.
    • 22 Metascore
    • 30 Neil Genzlinger
    Beneath the Darkness
    Someone involved with Beneath the Darkness has either watched too many horror movies or not enough. There is not an original thought in this story, written by Bruce Wilkinson, or in the way it is directed by Martin Guigui.
    • 48 Metascore
    • 30 Neil Genzlinger
    My Amityville Horror
    These days, when paranormal-themed shows are all over television, Mr. Lutz sounds like just another guy peddling an unverifiable spooky story.
    • 20 Metascore
    • 30 Neil Genzlinger
    Someday This Pain Will Be Useful to You
    Someday This Pain Will Be Useful to You, a film based on Peter Cameron's novel, is several kinds of excruciating.
    • 41 Metascore
    • 30 Neil Genzlinger
    American Jesus
    It’s not clear what Aram Garriga thinks he is accomplishing in his simplistic “American Jesus,” but he’s not accomplishing much.
    • 32 Metascore
    • 30 Neil Genzlinger
    Brightest Star
    Allegories involving astronomy, baseball and sandwiches are hinted at but are no better developed than the characters.
    • tbd Metascore
    • 30 Neil Genzlinger
    Billy Bates
    Ms. DeLia serves it up in fragmentary fashion, with lots and lots of writhing, brooding, meaningfully vacant stares and so on. Several scenes are in danger of being unintentionally comic.
    • 39 Metascore
    • 30 Neil Genzlinger
    Angels Sing
    It’s as thinly written and unoriginal as made-for-television seasonal filler, and why it isn’t on the Hallmark Channel or Lifetime is a mystery, but fans of the singers in it might get a kick out of seeing them.
    • 36 Metascore
    • 30 Neil Genzlinger
    Blind
    The film, directed by Michael Mailer, wanted to be a steamy romance, but it ended up leaden and occasionally laughable.
    • 28 Metascore
    • 30 Neil Genzlinger
    Once Upon a Time in Venice
    The movie tries for propulsive Tarantino grit but ends up being just another annoying example of Hollywood’s addiction to stories in which graying white men bed beautiful young women and beat up men much more youthful and fit than they are.
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