movie_title string | publisher_name string | critic_name string | review_content string | review_score string | grade_type string | orig_num float32 | orig_denom float32 | includes_zero bool | label uint8 | scale_points uint8 | multiplier uint8 | group_id uint32 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
Friends With Benefits | Austin American-Statesman | Charles Ealy | Friends With Benefits won't reinvent the romantic comedy, but it gives the genre new life, as did 2009's (500) Days of Summer. | 3.5/5 | 5 | 3.5 | 5 | false | 5 | 9 | 2 | 1,075 |
Goon | Austin American-Statesman | Charles Ealy | Scott, never known for being choosy about his roles, actually has ended up in a sweet little movie. | 3/5 | 5 | 3 | 5 | false | 4 | 9 | 2 | 1,075 |
Holy Motors | Austin American-Statesman | Matthew Odam | It may be the weirdest and most challenging movie to open in Austin this year. It's also oddly moving. | 4/5 | 5 | 4 | 5 | false | 6 | 9 | 2 | 1,075 |
Johnny Got His Gun | Austin American-Statesman | Charles Ealy | Johnny Got His Gun won't break any box-office records. But it should find a small but loyal audience. | 3/5 | 5 | 3 | 5 | false | 4 | 9 | 2 | 1,075 |
The Joneses | Austin American-Statesman | Joe Gross | Evil, even evil that doesn't even realize how evil it is, has rarely looked so everyday. | 3.5/5 | 5 | 3.5 | 5 | false | 5 | 9 | 2 | 1,075 |
Killing Them Softly | Austin American-Statesman | Matthew Odam | The movie calls to mind ominous Scorsese heavies menacing with their fearless gravitas and quick-mouthed Tarantino featherweights exchanging verbal barbs in a slowly enclosing ring. | 3.5/5 | 5 | 3.5 | 5 | false | 5 | 9 | 2 | 1,075 |
Le passé (The Past) | Austin American-Statesman | Charles Ealy | All of the acting is first-rate, with Bejo winning the best actress award at the 2013 Cannes Film Festival, where The Past made its world premiere. But Mosaffa's role as Ahmad proves to be the biggest revelation. | 4.5/5 | 5 | 4.5 | 5 | false | 7 | 9 | 2 | 1,075 |
Little Miss Sunshine | Austin American-Statesman | John DeFore | It won't enter the quirktastic-voyage hall of fame, but it's a refreshing ride nonetheless. | 3/5 | 5 | 3 | 5 | false | 4 | 9 | 2 | 1,075 |
Looper | Austin American-Statesman | Matthew Odam | Despite its confusing logic and ornate storyline, Looper still grabs the audience with the raw emotional storyline on the farm and the constant popping back and forth in time. It's a head-scratching ride, but a fun one nonetheless. | 3.5/5 | 5 | 3.5 | 5 | false | 5 | 9 | 2 | 1,075 |
Marvel's The Avengers | Austin American-Statesman | Joe Gross | It's Summer's Mightiest Movie. Nuff said. | 4/5 | 5 | 4 | 5 | false | 6 | 9 | 2 | 1,075 |
Miami Vice | Austin American-Statesman | Chris Garcia | [B]race for an unflinching contemporary crime drama that makes no concessions to pop nostalgia or mocking remakes such as the no-brow Starsky and Hutch. | 4/5 | 5 | 4 | 5 | false | 6 | 9 | 2 | 1,075 |
Moonrise Kingdom | Austin American-Statesman | Charles Ealy | The Houston native and University of Texas graduate beautifully blends humor and pathos to create what's bound to be one of the best movies of the year. | 4.5/5 | 5 | 4.5 | 5 | false | 7 | 9 | 2 | 1,075 |
Not Fade Away | Austin American-Statesman | Dale Roe | It's not a great film, but perhaps Chase is the victim of impossibly high expectations. | 2.5/5 | 5 | 2.5 | 5 | false | 3 | 9 | 2 | 1,075 |
Only Lovers Left Alive | Austin American-Statesman | Charles Ealy | It's an inspired metaphor for the fragility of life, even for those who are immortal. | 4/5 | 5 | 4 | 5 | false | 6 | 9 | 2 | 1,075 |
Salmon Fishing in the Yemen | Austin American-Statesman | Charles Ealy | Salmon Fishing is, at its heart, quite sweet and upbeat. And that's not a bad way to spend the evening. | 3.5/5 | 5 | 3.5 | 5 | false | 5 | 9 | 2 | 1,075 |
Skyfall | Austin American-Statesman | Matthew Odam | The film serves as a trip back to the beginning of the 50-year-old cinematic legend and the promise of a golden future with Craig in the role of 007. | 4.5/5 | 5 | 4.5 | 5 | false | 7 | 9 | 2 | 1,075 |
Source Code | Austin American-Statesman | Matthew Odam | Jones proves with Source Code that he understands how to pace a traditional thriller, and Gyllenhaal's display of comedic chops, confident bravado and tender sympathies prove that the 30-year-old actor has arrived at leading-man status. | 3/5 | 5 | 3 | 5 | false | 4 | 9 | 2 | 1,075 |
The Cabin in the Woods | Austin American-Statesman | Joe Gross | Whedon refuses to keep the clichés entirely intact. In keeping with the overall theme, nothing is entirely what it seems, and nobody is entirely who they seem. | 4.5/5 | 5 | 4.5 | 5 | false | 7 | 9 | 2 | 1,075 |
The Collection | Austin American-Statesman | Matthew Odam | The Collection never hits audiences in the stomach with any immediate sense of danger, and the dialogue and most of the performances feel entirely too campy for the movie to actually be taken seriously. Maybe that is the point, but I don't think so. | 1.5/5 | 5 | 1.5 | 5 | false | 1 | 9 | 2 | 1,075 |
The Dark Knight Rises | Austin American-Statesman | Joe Gross | It's not un-entertaining. Exhausting, a bit, but not un-entertaining. | 3.5/5 | 5 | 3.5 | 5 | false | 5 | 9 | 2 | 1,075 |
The Maze Runner | Austin American-Statesman | Dale Roe | The maze is intriguing, the creatures are terrifying and the action scenes are of the "stuff whipping around and moving so fast it's hard to tell what's going on" variety. But, when the maze's mysteries are unlocked... it feels like a cheat. | 3/5 | 5 | 3 | 5 | false | 4 | 9 | 2 | 1,075 |
The Sessions | Austin American-Statesman | Matthew Odam | The Sessions belongs completely to Hawkes, who disappears into the role of Mark O'Brien, delivering a stunning performance that illuminates what it means to be a whole person. | 4.5/5 | 5 | 4.5 | 5 | false | 7 | 9 | 2 | 1,075 |
Trance | Austin American-Statesman | Charles Ealy | In Trance, it's hard to care about anyone. | 1.5/5 | 5 | 1.5 | 5 | false | 1 | 9 | 2 | 1,075 |
Tusk | Austin American-Statesman | Joe Gross | Even if Smith is preaching to the converted, it's nice to hear his goofy voice once more. | 4/5 | 5 | 4 | 5 | false | 6 | 9 | 2 | 1,075 |
Bill & Ted Face the Music | Austin Burke/Flick Fan Nation | Austin Burke | Bill and Ted not only return, but the magic captured by this franchise (so many years ago) is back and better than ever. This is everything fans of the franchise have been waiting for. | 7.5/10 | 10 | 7.5 | 10 | false | 13 | 19 | 2 | 1,076 |
First Cow | Austin Burke/Flick Fan Nation | Austin Burke | [First Cow] never takes the easy way out... It is subtle, well-directed, and the cinematography is gorgeous. | 8/10 | 10 | 8 | 10 | false | 14 | 19 | 2 | 1,076 |
Robin's Wish | Austin Burke/Flick Fan Nation | Austin Burke | It was a joy getting another beautiful look into the life of Robin Williams. | 7.5/10 | 10 | 7.5 | 10 | false | 13 | 19 | 2 | 1,076 |
Spree | Austin Burke/Flick Fan Nation | Austin Burke | [Spree] combines interesting direction with this frantic editing style to bring us a fresh spin on a tired premise. | 7/10 | 10 | 7 | 10 | false | 12 | 19 | 2 | 1,076 |
The Rental | Austin Burke/Flick Fan Nation | Austin Burke | Franco showcases interesting techniques that never find the right rhythm... The constant shifting of tone is distracting from what he [Franco] does well here. | 5/10 | 10 | 5 | 10 | false | 8 | 19 | 2 | 1,076 |
The Tax Collector | Austin Burke/Flick Fan Nation | Austin Burke | "The Tax Collector" has enough style to maintain some interest... It is hard to invest in a film that lacks character-depth. | 5/10 | 10 | 5 | 10 | false | 8 | 19 | 2 | 1,076 |
You Should Have Left | Austin Burke/Flick Fan Nation | Austin Burke | There are aspects that could have made this movie great, but it all comes off as either dull or completely uninteresting. | 3.5/10 | 10 | 3.5 | 10 | false | 5 | 19 | 2 | 1,076 |
A Quiet Passion | Australian Book Review | Anwen Crawford | A Quiet Passion, like most films about writers, sticks to the life that can be dramatised, rather than the writing process, which can't. | 3.5/5 | 5 | 3.5 | 5 | true | 7 | 11 | 2 | 1,077 |
A United Kingdom | Australian Book Review | Anwen Crawford | Though A United Kingdom has an emotional arc that is too predictable, its resurrection of a widely forgotten piece of twentieth-century history is worthy. | 3.5/5 | 5 | 3.5 | 5 | true | 7 | 11 | 2 | 1,077 |
Berlin Syndrome | Australian Book Review | Anwen Crawford | The navet of the main character feels far less credible. | 1.5/5 | 5 | 1.5 | 5 | true | 3 | 11 | 2 | 1,077 |
BlacKkKlansman | Australian Book Review | Anwen Crawford | Some viewers may feel that Lee is being didactic, or literal, but I think that BlacKkKlansman is a vital film arriving at a critical moment. | 5/5 | 5 | 5 | 5 | true | 10 | 11 | 2 | 1,077 |
Disobedience | Australian Book Review | Anwen Crawford | Lelio's real strength is as a director of actors... Both Weisz and McAdams are committed and convincing. | 3/5 | 5 | 3 | 5 | true | 6 | 11 | 2 | 1,077 |
God's Own Country | Australian Book Review | Anwen Crawford | [Francis] Lee allows more optimism into his film, including the suggestion that agriculture itself might still have a future in England. | 4/5 | 5 | 4 | 5 | true | 8 | 11 | 2 | 1,077 |
High-Rise | Australian Book Review | Anwen Crawford | High-Rise has no shortage of vivid images to tempt the eager filmmaker, from a ransacked supermarket to an Afghan hound floating dead in a swimming pool. What's harder to convey is that distinctive Ballardian tone. | 2/5 | 5 | 2 | 5 | true | 4 | 11 | 2 | 1,077 |
Judy & Punch | Australian Book Review | Anwen Crawford | The sense that we're watching events occur outside a real time or place distances us from them. The film's main achievement is in visual design. | 2.5/5 | 5 | 2.5 | 5 | true | 5 | 11 | 2 | 1,077 |
Lady Bird | Australian Book Review | Anwen Crawford | First time writer-director Greta Gerwig, an experienced actor, is attuned to the mix of munificence and selfishness that makes up the adolescent heart. | 4.5/5 | 5 | 4.5 | 5 | true | 9 | 11 | 2 | 1,077 |
Lean on Pete | Australian Book Review | Anwen Crawford | Plummer plays the part with an emotional discipline that belies his youth. | 3.5/5 | 5 | 3.5 | 5 | true | 7 | 11 | 2 | 1,077 |
Little Woods | Australian Book Review | Anwen Crawford | Like so many American stories, Little Woods is a drama about personal agency, but it's also a dramatisation of what it means, in material terms, to have very little agency to exercise. | 3/5 | 5 | 3 | 5 | true | 6 | 11 | 2 | 1,077 |
Loro | Australian Book Review | Anwen Crawford | ...why render it all over again, especially when the whole scenario is left to fizzle out, and is never revived? | 2.5/5 | 5 | 2.5 | 5 | true | 5 | 11 | 2 | 1,077 |
Love & Friendship | Australian Book Review | Anwen Crawford | Love and Friendship is very funny, funnier still for its absence of moral reckoning. | 4/5 | 5 | 4 | 5 | true | 8 | 11 | 2 | 1,077 |
Loveless (Nelyubov) | Australian Book Review | Anwen Crawford | Something vital, his films intimates, has been lost in Russia, and perhaps not only in Russia - some warmth of the soul, a sense of civic accountability. As with the child, no one even noticed it slipping away. | 4/5 | 5 | 4 | 5 | true | 8 | 11 | 2 | 1,077 |
Manchester by the Sea | Australian Book Review | Anwen Crawford | [Michelle] Williams has only a few scenes but makes her mark in all of them. | 4.5/5 | 5 | 4.5 | 5 | true | 9 | 11 | 2 | 1,077 |
The Death of Stalin | Australian Book Review | Anwen Crawford | The Death of Stalin is obviously a farce, in the best sense; the primary aim is never verisimilitude. The film shares something of the attitude and atmosphere that pervades a work like Dario Fo's. | 3.5/5 | 5 | 3.5 | 5 | true | 7 | 11 | 2 | 1,077 |
The Killing of a Sacred Deer | Australian Book Review | Anwen Crawford | The emotional stakes are lowered in Lanthimos's world, but the operation of power is much the same as it ever was. | 3/5 | 5 | 3 | 5 | true | 6 | 11 | 2 | 1,077 |
Things to Come (L'avenir) | Australian Book Review | Anwen Crawford | Things to Come is a rare and welcome film for not suggesting that a woman is unnatural or unfeeling to care for her work as much as for her family. | 4/5 | 5 | 4 | 5 | true | 8 | 11 | 2 | 1,077 |
Wonder Wheel | Australian Book Review | Lauren Carroll Harris | Autobiographical readings can be a lazy, obvious way to interpret the work of an artist, but with its triangular love affairs with stepdaughters and lost women in distress, it is impossible to read Wonder Wheel as anything but. | 0.5/5 | 5 | 0.5 | 5 | true | 1 | 11 | 2 | 1,077 |
You Were Never Really Here | Australian Book Review | Anwen Crawford | You Were Never Really Here feels much more remote and unreal in its scenario, and though it has been compared several times already to Martin Scorsese's Taxi Driver (1976), I'm not sure that the comparison holds weight. | 3/5 | 5 | 3 | 5 | true | 6 | 11 | 2 | 1,077 |
Happy Happy Joy Joy: The Ren & Stimpy Story | Awards Radar | Joey Magidson | "Happy Happy Joy Joy: The Ren & Stimpy Story" is a tale of two documentaries. The one focused on just the making of the show is entertaining, thorough, and a real winner. | 3/4 | 4 | 3 | 4 | false | 2 | 4 | 1 | 1,078 |
Dolemite Is My Name | AwardsCircuit.com | Adriana Gomez-Weston | "Dolemite is My Name" is a fun, care-free film that aims to showcase one of the most interesting men in the game. | 8.5/10 | 10 | 8.5 | 10 | false | 15 | 19 | 2 | 1,079 |
Knives Out | AwardsCircuit.com | Adriana Gomez-Weston | If there's a case for a film that should be experienced purely with an audience, Rian Johnson's "Knives Out" would be a spectacular example. His latest feature is a deliciously entertaining, hysterical whodunit from start to finish. | 10/10 | 10 | 10 | 10 | false | 18 | 19 | 2 | 1,079 |
Scary Stories to Tell in the Dark | AwardsCircuit.com | J. Don Birnam | The visuals are memorable and scary and worth the price of admission despite a story surprisingly lacking in life or originality | 2/5 | 5 | 2 | 5 | false | 1 | 5 | 1 | 1,080 |
Atlantics | AwardsWatch | Valerie Complex | A rousing third act brings all the story elements together concisely, making the viewing experience extremely rewarding. | 3/5 | 5 | 3 | 5 | false | 4 | 9 | 2 | 1,081 |
Bad Education | AwardsWatch | Dewey Singleton | Hugh Jackman and Allison Janney are fantastic | 4/5 | 5 | 4 | 5 | false | 6 | 9 | 2 | 1,081 |
First Cow | AwardsWatch | Jack King | First Cow, in this sense, feels to be the natural progression of these ideas-it simultaneously celebrates the speedy inventiveness of the American West and formally basks in meditative stasis. | 4/5 | 5 | 4 | 5 | false | 6 | 9 | 2 | 1,081 |
Long Shot | AwardsWatch | Catherine Springer | ...despite the clunky, unimaginative script and the by-the-numbers direction, Long Shot is saved by the exact gimmick that probably green-lit it in the first place: Theron and Rogen. | 2/5 | 5 | 2 | 5 | false | 2 | 9 | 2 | 1,081 |
Portrait of a Lady on Fire (Portrait de la jeune fille en feu) | AwardsWatch | Valerie Complex | This movie is a full cinematic experience and deserves to be viewed on the big screen so an audience can immerse themselves in the sublime. | 5/5 | 5 | 5 | 5 | false | 8 | 9 | 2 | 1,081 |
Relic | AwardsWatch | Sara Clements | Relic [is]one of the most emotional and frightening films of the genre yet. | 4.5/5 | 5 | 4.5 | 5 | false | 7 | 9 | 2 | 1,081 |
The King of Staten Island | AwardsWatch | Dewey Singleton | Davidson gives an award-worthy performance that is heartfelt and, at times, heartbreaking...in which he manages to navigate the most emotionally draining moments with the same ease he would delivering a hilarious one-liner. | 4.5/5 | 5 | 4.5 | 5 | false | 7 | 9 | 2 | 1,081 |
The Rental | AwardsWatch | Sara Clements | [Dave] Franco proves to have a bright future ahead as a director and the skills to write and direct genre films, creating a slasher that manages to feel so out of the norm that it may just be the most frightening of them all. | 3.5/5 | 5 | 3.5 | 5 | false | 5 | 9 | 2 | 1,081 |
You Cannot Kill David Arquette | AwardsWatch | Michael Frank | The film deserves praise for its attachment and warmth to Arquette. As an executive producer of the doc, Arquette isn't afraid to show himself slipping up, falling into old, bad habits. And it lives up to the title. You almost see Arquette actually die. | 4/5 | 5 | 4 | 5 | false | 6 | 9 | 2 | 1,081 |
Amulet | AwardsWatch | Jason Adams | Amulet, in its weird old new way, feels new and memorable and fresh. | B | long_letter | null | null | false | 13 | 18 | 1 | 1,082 |
Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) | AwardsWatch | Meghan White | When you understand this distinction, it becomes clear that the women in Birds of Prey dress to please themselves, to increase their fighting efficiency, or to communicate something about who they are. | B | long_letter | null | null | false | 13 | 18 | 1 | 1,082 |
Capone | AwardsWatch | Josh Encinias | Capone is more about Trank's experience in Hollywood than Fonzo's last days. | D+ | long_letter | null | null | false | 8 | 18 | 1 | 1,082 |
Color Out of Space | AwardsWatch | Meghan White | Nicholas Cage gives another deliciously over-the-top performance in Richard Stanley's new hallucinatory horror. | B+ | long_letter | null | null | false | 14 | 18 | 1 | 1,082 |
Deerskin | AwardsWatch | Jason Adams | Deerskin gives us 75 straight minutes of exquisite ridiculousness, and then exits stage left leaving me wanting just enough more, and not a whit less. | B+ | long_letter | null | null | false | 14 | 18 | 1 | 1,082 |
Driveways | AwardsWatch | Jason Adams | Dennehy gives one of his finest performances, in a life smashed full of them, here -- the quiet camaraderie that he and Cody develop becomes, before you even realize it, a lifeline for the both of them. | A- | long_letter | null | null | false | 15 | 18 | 1 | 1,082 |
Endings, Beginnings | AwardsWatch | Meghan White | Unfortunately, inversion of a trope doesn't equate to actual subversion. We aren't given much reason to care about any of the characters who orbit Daphne's life. | D+ | long_letter | null | null | false | 8 | 18 | 1 | 1,082 |
Irresistible | AwardsWatch | Josh Encinias | The film is like Jon Stewart doing Frank Capra in 2020 without the sentimentality. | B+ | long_letter | null | null | false | 14 | 18 | 1 | 1,082 |
Irresistible | AwardsWatch | Rubin Safaya | IRRESISTIBLE isn't. | D | long_letter | null | null | false | 7 | 18 | 1 | 1,082 |
Miss Juneteenth | AwardsWatch | Valerie Complex | Miss Juneteenth is written with hope in mind, and the audience will root for Turquoise because she's not a tropey caricature that Hollywood likes to box Black actresses into. | A- | long_letter | null | null | false | 15 | 18 | 1 | 1,082 |
Never Rarely Sometimes Always | AwardsWatch | Donny Sheldon | Never Rarely Sometimes Always is a haunting work that cuts right to the bone | A- | long_letter | null | null | false | 15 | 18 | 1 | 1,082 |
Shirley | AwardsWatch | Donny Sheldon | Shirley is a beautiful, twisted tour de force from a cast and crew operating at the height of their powers. Moss delivers a ferocious, electrifying performance. | A | long_letter | null | null | false | 16 | 18 | 1 | 1,082 |
Sputnik | AwardsWatch | Jason Adams | Tatyana (Oksana Akinshina), a psychologist brought in to see what's what with Veshnyakov, is clearly a riff on our beloved bitch-puncher Ellen Ripley as she kicks alien ass and says all the right, smart, capable stuff. | B | long_letter | null | null | false | 13 | 18 | 1 | 1,082 |
The Hunt | AwardsWatch | Clint Worthington | For something ostensibly so politically-minded, The Hunt's satire is blunt and uneven. | C- | long_letter | null | null | false | 9 | 18 | 1 | 1,082 |
The Invisible Man | AwardsWatch | Jason Adams | The film opens by dropping us right down in escape. Cecelia (Moss) is getting away from her abusive Frankenstein-tall monster of a husband (Oliver Jackson-Cohen, scarcely glimpsed in the flesh) by any means necessary. It's electric. | B+ | long_letter | null | null | false | 14 | 18 | 1 | 1,082 |
The Last Thing He Wanted | AwardsWatch | Josh Encinias | Not even half a dozen Oscar winners and nominees can save a story that manages to be both formulaic and convoluted. | D+ | long_letter | null | null | false | 8 | 18 | 1 | 1,082 |
The Traitor | AwardsWatch | Mina Takla | The result is two films in one; one that works and one that doesn't. If Bellocchio had stuck with his intimate, observant storytelling approach, the film would have been a much more compelling testament to a dark age that Italians will never forget. | B | long_letter | null | null | false | 13 | 18 | 1 | 1,082 |
Transit | AwardsWatch | Erik Anderson | An interesting, if not completely satisfying, drama. | B | long_letter | null | null | false | 13 | 18 | 1 | 1,082 |
Waist Deep | Awareness Magazine | Kam Williams | A waste of time! | 0/4 | 4 | 0 | 4 | true | 0 | 5 | 1 | 1,083 |
Kabhi Khushi Kabhie Gham | BBC.com | Shamaila Khan | A well made film, with some magical moments (hilarious and weepy) and possibly the world's best looking family! | 9/10 | 10 | 9 | 10 | false | 8 | 10 | 1 | 1,084 |
Charlie and the Chocolate Factory | BBC.com | Stella Papamichael | An intoxicating endorphin rush. | 4/4 | 4 | 4 | 4 | false | 3 | 4 | 1 | 1,085 |
Cheaper by the Dozen 2 | BBC.com | Neil Smith | Crammed with moppet mayhem, mawkish sentiment and bruising slapstick, it's a flat-footed retread only Right to Lifers could love. | 1/4 | 4 | 1 | 4 | false | 0 | 4 | 1 | 1,085 |
La Dolce Vita | BBC.com | Stella Papamichael | Rather than wallow in cynicism, Fellini's genius is characterised by a zest for life -- albeit a tragically insatiable one -- as he sprinkles dreamlike snapshots like glitter in the darkness. | 4/4 | 4 | 4 | 4 | false | 3 | 4 | 1 | 1,085 |
Guy X | BBC.com | Nev Pierce | A film which lingers and haunts, but never compels. | 3/4 | 4 | 3 | 4 | false | 2 | 4 | 1 | 1,085 |
The Incredibles | BBC.com | Stella Papamichael | Flies high above the crowd for its worldly wit and compassion for humankind. | 4/4 | 4 | 4 | 4 | false | 3 | 4 | 1 | 1,085 |
Life as a House | BBC.com | Jamie Russell | As a drama it's insipid, maudlin junk that'll have you reaching for the sick-bucket rather than the Kleenex. | 1/4 | 4 | 1 | 4 | false | 0 | 4 | 1 | 1,085 |
Memoirs of a Geisha | BBC.com | Stella Papamichael | Unlike the geisha, this adaptation does wear its heart on its sleeve, but a fine cast, including the regal Michelle Yeoh, create a picture of composure. | 4/4 | 4 | 4 | 4 | false | 3 | 4 | 1 | 1,085 |
Mysterious Skin | BBC.com | Neil Smith | The only thing Mysterious Skin will do is make yours crawl. | 2/4 | 4 | 2 | 4 | false | 1 | 4 | 1 | 1,085 |
Wedding Crashers | BBC.com | Stella Papamichael | Outrageous set-ups and saucy dialogue keep the party going and, while it staggers erratically to its conclusion, Wedding Crashers always has its heart in the right place. | 4/4 | 4 | 4 | 4 | false | 3 | 4 | 1 | 1,085 |
Source Code | BDK Reviews | Kevin McCarthy | You know a movie is amazing when you don't want to get up to use the restroom in fear that you'll miss a single frame. I just wish it ended five minutes earlier. | 4.5/10 | 10 | 4.5 | 10 | false | 7 | 19 | 2 | 1,086 |
Dr. Seuss' Horton Hears a Who! | BDK Reviews | Kevin McCarthy | The kids will love this movie... | 3.5/4 | 4 | 3.5 | 4 | false | 5 | 7 | 2 | 1,087 |
The Mechanic | BDK Reviews | Kevin McCarthy | There is a line of dialogue said by Tony Goldwyn's character that is worth the entire price of admission! Other than that, the rest of the film is mediocre at best. | 2.5/4 | 4 | 2.5 | 4 | false | 3 | 7 | 2 | 1,087 |
Madea's Family Reunion | BET.com | James Hill | Is "Madea" a postive move? You bet. Positively insulting to anyone who's graduated middle school and read at least one book since. | 2/4 | 4 | 2 | 4 | false | 1 | 4 | 1 | 1,088 |
Beverly Hills Cop | BET.com | James Hill | Eddie improvs this B-actioner into a classic comedy. | 5/5 | 5 | 5 | 5 | false | 4 | 5 | 1 | 1,089 |
Marathon Man | BET.com | James Hill | Taught, scary and still lots of fun. | 4/5 | 5 | 4 | 5 | false | 3 | 5 | 1 | 1,089 |
Tremors 3 - Back to Perfection | BET.com | James Hill | The third best in the series is still pretty damned entertaining. | 4/5 | 5 | 4 | 5 | false | 3 | 5 | 1 | 1,089 |
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