McClatchy-Tribune News Service's Scores

  • Movies
For 601 reviews, this publication has graded:
  • 61% higher than the average critic
  • 2% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 4.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 56 Up
Lowest review score: 25 Blended
Score distribution:
601 movie reviews
  1. If you’re going to commit to a blasphemous stoner comedy mocking the New Testament prophesy of the coming Rapture, you’d better go all in. Because halfway isn’t funny.
  2. It works, after a fashion — a romance that isn’t a romantic comedy. But Bier, a wonderful director, proves that “Love” isn’t all you need to make us swoon. You need a lighter touch.
  3. Mostly, it’s just a clumsy lecture about who we’re becoming, haves vs have-nots, with the haves armed to the teeth.
  4. The best of them you could certainly see as full length features, chilling little tastes of a complete vision — story, characters, horrific situations and visual aesthetic. The worst? Simply generic.
  5. Fletcher and his players never quite hit on a tone that works. Fantastical dream sequences and side trips to the store to get “more bullets” never quite rise to the level of wry commentary. This just isn’t as cute and funny as Fletcher seems to think it is.
  6. A winking comedy with dark underpinnings and some of Shakespeare’s most wicked wordplay.
  7. For all its showmanship, Now You See Me has a lot less up its sleeve than it lets on.
  8. An undemanding, childish adventure picture.
  9. A summer movie that staggers down that fine line between sentimental and snarky, a tale of nature and nurture and first love that manages to charm more than any R-rated movie about horny teens has a right to.
  10. Owen and Riseborough play their characters awfully close to the vest, not investing in anything that would allow this story to take the romantic or melodramatic turns we expect. But truthfully, that hamstrings the movie.
  11. It’s too much a movie of “types,” and loses track of story elements that would seem important enough to warrant further exploration. The whole Christian conservative law-and-order mantle feels like a fuzzy afterthought on Jane, forgotten far too soon.
  12. Epic isn’t epic, but it isn’t half bad, either. It’s just that as high as the bar has been raised on this sort of animation, this is more evidence that a strong story is worth more than any next generation software.
  13. Bad movies are rarely as much fun as these “Fast and the Furious” pictures. And make no mistake about it — they’re bad.
  14. As "Hangovers" go, Part III isn't challenging or unpleasant, just instantly forgettable. It won't take much to sleep this one off.
  15. The players utterly inhabit their banal characters, but Hartigan only delivers a couple of scenes that merit all this attention to detail.
  16. The line between “cute” and “cutesy” is violated, repeatedly, in the sometimes funny, often cloying comedy The English Teacher.
  17. As our old friend Ricardo Montalban said thirty years ago in “The Wrath of Khan,” still the best of the “Star Treks” — “It is veeery coooooold in space.” “Into Darkness,” for all its dense textures and epic scale, left me cold.
  18. Rock is a poorly written and ineptly directed genre piece that lacks tension, suspense, fear, all those things that make’ a “thriller” thrilling.
  19. The laughs follow an overly familiar path, but it’s great to see Grier, one of the bright lights of the seminal TV sketch comedy “In Living Color,” button down this judge and find ways to break formula and make him hilarious.
  20. Frances Ha turns melancholy and almost painful to watch in its last act as she and we see the dead end dead ahead. And the film doesn’t seem to earn the finale the two of them cooked up for us.
  21. It’s a fanciful conceit and a well-animated parable about prejudice, standards of beauty and the shifting sands of the painters’ art.
  22. No One Lives has to give away its biggest, best secret (the killers have messed with the wrong guy) far too early for its own good.
  23. Aftershock then becomes a catalog of most every unpleasant way of dying you can imagine.
  24. Young Onata Aprile makes Maisie a passive wonder, a sweetly poker-faced, nonjudgmental and hopeful child, even as she’s being ditched at bars, forgotten at school or passed back and forth like a prize, or a bad penny.
  25. This movie hangs utterly on performance, and DiCaprio’s Gatsby is mesmerizing.
  26. The fact that Serena, ranked number one again this year — the oldest woman (31) ever so ranked — means that their story isn’t over, and that if a skeptic wants to finally appreciate their historic impact on the game, he or she still has time to come around.
  27. Kon-Tiki is a grand old school yarn with enough drama and dramatic incidents to make even Indiana Jones envious at the adventure of it all.
  28. The dialogue is hard-bitten and Mamet-sharp.
  29. The broad, goofy jokes and one-liners land — even if they feel a little winded, this time.
  30. For all its pleasures, as Germaine nudges Claude toward that “ideal” ending that will make the reader say “I never saw that coming” and “It could not have ended any other way” at the same time, one only wishes this absorbing but melodramatic film had taken that advice.

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