For 17,765 reviews, this publication has graded:
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52% higher than the average critic
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4% same as the average critic
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44% lower than the average critic
On average, this publication grades 2.3 points lower than other critics.
(0-100 point scale)
Average Movie review score: 63
| Highest review score: | IMAX: Hubble 3D | |
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| Lowest review score: | Divorce: The Musical |
Score distribution:
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Positive: 9,125 out of 17765
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Mixed: 7,004 out of 17765
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Negative: 1,636 out of 17765
17765
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Todd McCarthy
May be a shade too serious and contemplative to completely enchant the thrill-seeking masses, while simultaneously seeming too mainstream-minded and genre-bound to be entirely embraced by highbrows.- Variety
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David Rooney
Tough, cogent and resonantly chilling, this slow-burning drama continues the vein of harsh realism seen in recent Gallic cinema including "La Vie de Jesus" and "More Than Yesterday."- Variety
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- Variety
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Joe Leydon
Evidencing savvy visual flair and compelling storytelling skill, Goyer infuses heart and vigor into material that could have come off as overly familiar at best, sappily improbable at worst.- Variety
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Robert Koehler
A powerful premise turned into a stubbornly flat, derivative war movie.- Variety
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Derek Elley
Often nastily violent, and defiantly foul-mouthed in a realistic but dramatically unnecessary way, this portrait of a ruthless young hood in '60s London has several fine qualities but dilutes them with disorganized direction.- Variety
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Joe Leydon
Just fast, frenetic and funny enough to amuse both new fans and longtime devotees of the characters who have inspired more than 30 years worth of animated TV episodes and made-for-video features.- Variety
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- Variety
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David Rooney
The film's chief shortcoming is perhaps its failure to convey a stronger, more atmospheric sense of the repressive 1970s Catholic school environment that breeds the titular boys' rebellion and wild flights of fancy.- Variety
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David Rooney
Not quite a documentary, it's more like a musical travelogue that doesn't quite sustain feature length and seems ideally suited to a shorter TV version for music webs.- Variety
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Scott Foundas
Two superb, nervy and delicately nuanced performances by newcomers Clint Jordan and Kirsten Russell enliven and momentarily elevate writer-director Joe Maggio's Virgil Bliss above the familiar post-prison-drama cliches to which it so strenuously adheres.- Variety
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- Variety
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Joe Leydon
It's almost impossible to enjoy this uneven but mostly exciting popcorn pic without flinching at a few plot elements that feel a bit too real for comfort.- Variety
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Todd McCarthy
Achieves a certain poignancy through its sensitivity to mortality in a context where illness and death are often thought of primarily in terms of gossip, blown deals and lost money.- Variety
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Dennis Harvey
Good performances and quirky humor make this slick if less than fully satisfying mix of romantic comedy and mystery an easy sit.- Variety
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Todd McCarthy
As a rich, gum-chewing matron who tools around in her canary-yellow Rolls-Royce, Flanagan is the picture's real scene-stealer.- Variety
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Lisa Nesselson
The first-ever screenplay written in the Inuit language, Inuktitut -- and the first time's a charm.- Variety
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Dennis Harvey
While refraining from excess melodrama or overt preachiness, pic makes no secret of its dismay at this chapter in American history.- Variety
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Robert Koehler
Director Phil Alden Robinson -- has done just about everything he can do to build a sleek, involving and -- for a few minutes -- terrifying movie that can get viewers past the young Ryan factor.- Variety
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Joe Leydon
A frequently inspired hit-and-miss burlesque that definitely hits more than it misses.- Variety
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- Variety
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Todd McCarthy
Bisset throws herself into what is by far the most emotionally demanding role of her career and emerges honorably.- Variety
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Dennis Harvey
Despite its occasional visual interest, avant-garde package is far from the accessible tortured-artist portrait helmer essayed 15 years ago in "Vincent." Even committed dance and experimental cinema fans are likely to find this rough sledding.- Variety
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Joe Leydon
Although closer in tone to "Office Space" than Herman Melville, Jonathan Parker's absurdist update of Bartleby is surprisingly faithful to the spirit, if not the letter, of the "Moby-Dick" author's 1853 novella about an under-achieving Wall Street copy clerk.- Variety
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Todd McCarthy
Roman Coppola's first film has sympathetic aims but is distressingly lacking in flair, style, wit or fun.- Variety
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David Stratton
This intelligent, engaging indie sets out to find a few answers and in the process introduces a clutch of interesting, very human characters.- Variety
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Todd McCarthy
Saddled with a sentimentally "sincere" subject and lacking the stylistic and humorous cachet of the recent computer-animated smashes.- Variety
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Robert Koehler
The latest model in the recent spate of underwhelming female star vehicles, Enough, a thriller detailing how a good wife gets back at an evil, possessive husband, is never provocative enough to generate strong emotional response.- Variety
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Todd McCarthy
Gripping, highly dramatic thriller that more than confirms the distinctive talent of young Brit helmer Christopher Nolan.- Variety
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Jonathan Holland
A gripping, superbly constructed indictment of the way governments contribute to the destruction of their citizens' lives.- Variety
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