Movieline's Scores

  • Movies
Select another publication »
For 693 reviews, this publication has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Artist
Lowest review score: 5 The Roommate
Score distribution:
  1. Positive: 426 out of 693
  2. Mixed: 226 out of 693
  3. Negative: 41 out of 693
693 movie reviews
view
per page
  1. Great Directors
    Though the movie is largely vanilla in its pleasures, film lovers will eat it up.
  2. 30 Minutes or Less
    For every line or gag that works, there are three or four more that seem to belong in a different movie altogether, either a darker one or a breezier one.
  3. Silent House
    This is good-for-you, arthouse-style horror. Which doesn't mean it's necessarily any good.
  4. The Mechanic
    Mostly, The Mechanic creaks and groans as it goes through the motions, and not even its lavish violence - which includes much smashing of heads and a nasty screwdriver stabbing - is particularly electrifying.
    • 48 Metascore
    • 75 Critic Score
    Sherlock Holmes: A Game of Shadows
    It's BFF and hetero life partner Dr. Watson who forms the tale's real love triangle with Holmes - escalating the first film's bromantic undercurrent of mutual admiration and "circumstantial homosexuality" to overt, unabashed man-love and dangerous attraction - with tantalizingly evil interloper Professor James Moriarty.
    • 48 Metascore
    • 55 Critic Score
    Glee: The 3D Concert Movie
    Can't make its mind up about what, exactly, it is.
  7. The Bang Bang Club
    Unfortunately, Silver's movie doesn't cut deep enough: It glosses over some thorny questions and hammers too fixedly on others.
  8. Every Day
    Disappointingly ordinary film.
  9. Lockout
    Lockout is derivative and ridiculous and a good time, provided you can turn off higher brain functions along with any other part of you that might want to lodge a complaint about liberal borrowing from better movies.
  10. The Sicilian Girl
    Based on a true story which director Marco Amenta explored 12 years ago in documentary form, The Sicilian Girl feels powered by unfocused preoccupation, rather than by a more compelling creative ambition.
  11. I'm Still Here
    The problem is, whether real, not real, or some Spector-headed stepchild of the two, meltdowns are still not inherently interesting.
  12. One Day
    We need to wait nearly 20 years for the romance in Lone Scherfig's One Day to get cooking, and for long stretches it seems as if we're watching this particular pair of nonstarters hem and haw in real time.
  13. The Perfect Host
    You'll have to hang on to something to get through the hairpins in The Perfect Host, a chamber piece hostage thriller black comedy undone less by its twists than by the stretches of bad road between them.
  14. To the Arctic
    To the Arctic uses spoonfuls of cuteness - featuring walruses and caribou, though polar bears are its primary animal stars - to make its fairly grim environmental message go down a little easier.
  15. Bad Teacher
    Bad Teacher is hardly a perfect picture, but in the context of every other comedy on the summer movie landscape - from the faux empowerment of "Bridesmaids" to the neurotic frat-guy heteromania of "The Hangover Part II" - it feels revolutionary.
  16. Burlesque
    But what makes Burlesque truly delectable - for the first half, at least, before its going-nowhere storyline really heads south - is its less obvious camp value.
  17. Restless
    The picture is so fluttering and tender, so guileless, that you almost can't believe it was made by an old hand like Van Sant. Then again, maybe you can.
  18. Metropia
    Dark and queer enough to catch your attention but lacking the story power to hold it, Metropia is an aesthetic in search of an author.
  19. Spring Fever
    Because of the movie's episodic structure and lack of expository detail, the visuals bear the greatest narrative burden.
  20. Rock of Ages
    Seeing Tom Cruise swathed in leather pants and fake tattoos, as Axl Rose-style metal god Stacee Jaxx, is supposedly Rock of Ages' big draw. But the movie is much more fun when he's not around.
  21. Perrier's Bounty
    Loose, flinty, and a little in love with itself, Perrier’s Bounty struts the fine line of self-consciousness drawn by neo-gangster capers like "The Usual Suspects," "In Bruges" and "Lock, Stock and Two Smoking Barrels."
  22. The A-Team
    Big-name star Liam Neeson looks on, trying to add some class to the joint, though even he seems to know it's a losing battle.
  23. The Dilemma
    The Dilemma is bad in a way that seems to parody all the ways in which a film like, say, "The 40-Year-Old Virgin" was good.
  24. Red Tails
    In the end Red Tails is mostly about the coolness of flying. Its heart is in the clouds, instead of with the men at the controls.
  25. The Flowers of War
    Bale's presence in the film is a kind of misdirect, a calculated element intended to better its international commercial prospects -- his character makes a clumsily predictable journey from cynical drunken expat to hero willing to sacrifice a chance to escape the country in order to care for the children who've ended up in his charge.
  26. Dr. Seuss' The Lorax
    The Lorax is so big, flashy and redundant that it courts precisely the kind of blind consumerism it's supposed to be condemning. It doesn't trust kids to sit still and pay attention for even a minute.
  27. Extremely Loud and Incredibly Close
    The only bright spot in Extremely Loud and Incredibly Close is Max von Sydow, as a mysterious, and mysteriously mute.
  28. Immortals
    Despite this new expansion in scale, Immortals lacks the inexorable forward momentum of its role model "300," as well as that movie's audacious, gleeful fascism and oblivious, accidental homoeroticism.
  29. Mirror Mirror
    Mirror Mirror has a great deal of energy and wit and color, so much that it sometimes threatens to go right over the top. Somehow, though, it always stops short of being just too much.
  30. The Sorcerer's Apprentice
    Turteltaub strives to show us realistic-looking magic, without realizing he'd be better off if he acknowledged that there's no such thing. Instead, we get human figures that emerge "magically" from swarms of cockroaches and sorceresses who dissolve into dust particles right before our eyes. It's the best CGI money can buy, and who cares?
Page:

Top Trailers

See all »
See all trailers »