USA Today's Scores

  • Movies
  • TV
For 4,677 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1 point lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Fruitvale Station
Lowest review score: 0 Amos & Andrew
Score distribution:
4677 movie reviews
  1. It's a silly good time, and that's something these days.
  2. Scotsman Gerard Butler does a fine job as the charismatic, ghostly character.
  3. Emerges as an African version of "Schindler's List."
  4. Despite the film's sporadic lulls, both director and star are on full beam. The first and third hours of this 20th-century epic are as dazzling as big-scale movies get.
  5. A visually arresting and entertaining romp, but it lacks some of the sardonic humor of the popular children's books on which the movie is based.
  6. The one movie families search for every Christmas for an outing, the way "Something's Gotta Give" was last year and "Jerry Maguire" was in 1996.
  7. There's nothing like dumbing down a movie grown-ups love so it can be "sold" to teens who aren't going to go anyway. The savvy flyer will proceed to the gate marked The "Aviator" instead.
  8. Spacey's brazen casting isn't as beyond the pale as it ought to be. In fact, it's hard to imagine this strange and only occasionally successful movie without him.
  9. A monumentally moving experience, from the powerful acting by Javier Bardem to the evocative music, composed by the director, Alejandro AmenĂ¡bar.
  10. As good as "Unforgiven." Or, to put it another way, as good as any movie Eastwood has ever directed.
  11. At the rate things are going, all of Hollywood will put in about a day's work on "Ocean's Seventeen."
  12. Nothing but attitude.
  13. Kris Kristofferson, as a scaled-down old gray mentor to Blade, still looks like the visual equivalent of your five worst college hangovers.
  14. As inspiring as the story wants to be, its real drama is mired around the edges, where we get a sense of what it is really like to be born into a brothel.
  15. Offers a bleak though thought-provoking take on relationships. The challenge for the viewer is in caring enough to become invested in characters who seem hellbent on hurting one another.
  16. A long movie that almost wears out its 21/4-hour welcome, yet it's full of surprises.
  17. A movie that has neither dramatic focus nor a single memorable performance, aside from one or two that are memorable for the wrong reasons?
  18. For a comedian (Allen) who often seems to be calling it in, he's more lackluster than usual. Curtis is a bigger disappointment, especially after "Freaky Friday," in which she was funny, smart and cheeky.
  19. Ten minutes into the picture, you're searching the screen for life-support machines.
  20. SpongeBob barely rates as OK when compared with "The Incredibles."
  21. The movie grows progressively more routine in quarter-hour increments, eventually collapsing under the weight of its own insignificance.
  22. The story is told gently and simply without excess sentimentality. It is a welcome departure from more contrived holiday fare.
  23. The Bridget Jones characters are worth revisiting. It's just too bad the story that connects them in The Edge of Reason is less fresh and clever than its predecessor.
  24. Linney is a match for Neeson, and the only thing that might keep Lithgow from getting a supporting-Oscar nomination is the brevity of the part.
  25. Simple and evocative, yet teeming with intriguing visual effects.
  26. Though he's highly irresponsible, this Alfie is not quite a calculating heel, which makes the material go down easier while blunting the point.
  27. One of the year's most clever and visually arresting computer-animated films, enlivened by a well-developed and credible cast of characters who just happen to be superheroes.
  28. Ray
    Ray could not have been made without star Jamie Foxx.
  29. Saw
    Becomes exceedingly disgusting when it wallows in the psychological torture of a child, a no-no under any circumstances.
  30. Birth presents an intriguing premise about death and the possibility of rebirth in an elegant, melancholy and deliberate fashion.

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