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Las Vegas Mercury
JEANNETTE CATSOULIS
Agrees with the Tomatometer 79% of the time.
Publications: Las Vegas Mercury, New York Times, NPR
Critics' Group: Las Vegas Film Critics Society, Washington, D.C. Area Film Critics Association
Total Reviews: 493
WORST REVIEWED FILMS
| Rating | T-Meter | Title | Year | Add Date (default) |
|---|---|---|---|
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| Captivity (2007) | Captivity the movie has been thoroughly eclipsed by Captivity the marketing. — New York Times |
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| Eternal (2005) | " Lush, lurid and completely besotted with itself, Eternal is one of those movies normally found slinking around the ether of late-night cable television." — New York Times |
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| Steam (2009) | " So cheesy and so poorly acted that it should never have seen the light of day." — New York Times |
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| Black Christmas (2006) | Glen Morgan's disastrous remake smothers terror beneath a blanket of unnecessary information, revealing too much and teasing too little. — New York Times |
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| Saw III (2006) | Saw III, with its barrage of grungy rooms, mortified flesh and elaborate torture, is a highly creative exercise in bloodletting, with a bleak view of human nature. — New York Times |
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| Unpleasant, uncouth and painfully unfunny, Larry the Cable Guy attempts lowbrow humor with neither the wit of the Farrelly brothers nor the raunchy inventiveness of Keenen Ivory Wayans. — New York Times | |
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| Wicker Park (2004) | " It’s a sad day indeed when a movie’s most memorable performance belongs to Scooby Doo’s Matthew Lillard." — Las Vegas Mercury |
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| " Inept, immature and terminally irritating, Mo is the kind of persistent clown who only responds to a slap in the kisser; would that the film were as easy to banish." — New York Times | |
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| Stan Helsing (2009) | By the time we reach the climactic karaoke smackdown, we have learned more about Freddy Krueger’s personal hygiene challenges -- and how to make a shockingly bad movie -- than we ever wanted to know. — New York Times |
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| Gamer (2009) | " In the press materials Mr. Butler informs us enthusiastically that the movie “has all the hallmarks of Neveldine’s and Taylor’s sick, yet genius minds.” At least he’s half right." — New York Times |
| N/A | House of Numbers (2009) | Trafficking in irresponsible inferences and unsupported conclusions, the filmmaker Brent Leung offers himself as suave docent through a globe-trotting pseudo-investigation that should raise the hackles of anyone with even a glancing knowledge of the basic — New York Times |
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| The Final Destination (2009) | " Since not even 3-D can put your eyes out, our only hope is that this time, the title is a promise and not a tease." — New York Times |
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| The Collector (2009) | " One of the more doltish entries in the torture subgenre." — New York Times |
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| Blood: The Last Vampire (2009) | " Suffers from abusive close-ups, repetitive fight sequences and uninspired demon design." — New York Times |
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| Crank High Voltage (2009) | " Crank: High Voltage, starring Jason Statham as a man with a machine instead of a heart, is boorish, bigoted and borderline pornographic." — New York Times |
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| The House of Adam (2008) | Had Jorge Ameer, the writer and director of The House of Adam, aimed for high-flying camp instead of low-rent earnestness, his movie might have stood a chance. — New York Times |
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| " How atrocious is the comedy Everybody Wants to Be Italian? Let me count the ways." — New York Times | |
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| One of the sleaziest documentaries to arrive in a very long time, Expelled: No Intelligence Allowed is a conspiracy-theory rant masquerading as investigative inquiry. — New York Times | |
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| Prom Night (2008) | For a film about erotomania, Prom Night is a curiously flaccid affair. — New York Times |
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| College Road Trip (2008) | Eyes popping and mouths agape, Martin Lawrence and Raven-Symoné mug their way through College Road Trip as if it were a silent movie -- which, come to think of it, would have been a lot less irritating. — New York Times |
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| The Hottie & the Nottie (2008) | Custom designed for its smirking star (who is also an executive producer), this tasteless train wreck asks only that she preen and prance on cue. — New York Times |
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| Meet the Spartans (2008) | " Jason Friedberg and Aaron Seltzer, the team behind Meet the Spartans, prove that ridiculing other movies is much easier than making your own." — New York Times |
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| Not even the august presence of Maximilian Schell can dispel the odor of fusty smut that clings to House of the Sleeping Beauties. — New York Times | |
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| Awake (2007) | " Awake is filled with risible medical behavior (the sterility of the operating room is repeatedly compromised) and a horizontal Mr. Christensen screaming variations on "Oh no, I can feel that!"" — New York Times |
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| Saw IV (2007) | Over the course of [its] sequels, the Saw franchise took a novel, if distasteful, idea and basically tortured it to death. — New York Times |
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| O Jerusalem (2007) | It's not easy to turn one of the most controversial events of the 20th century into a movie that makes your eyes roll, but O Jerusalem does this and worse. — New York Times |
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| Skinwalkers (2007) | Yawningly directed by Jim Isaac, Skinwalkers is a slavering mess that buries its clunky addiction metaphor beneath a welter of genre clichés, all delivered in extra-slow motion. — New York Times |
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| I Know Who Killed Me (2007) | Pretentious and inane, I Know Who Killed Me arouses unexpected sympathy for its embattled star. — New York Times |
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| The Condemned (2007) | The Condemned is tailor-made for those who like their violence multifaceted and their women monosyllabic. — New York Times |
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| The Tiger and the Snow (2006) | Roberto Benigni's film is a scorching affront to Italians, Iraqis and the intelligence of movie audiences everywhere. — New York Times |
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| Eating Out 2: Sloppy Seconds (2006) | A Rubik's Cube of shifting sexual orientation and elaborate sex fantasies, Sloppy Seconds gathers all the accouterments of soft pornography ... into a plot of stunning imbecility. — New York Times |
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| Employee of the Month (2006) | Directed by Greg Coolidge with the flair of a training video, Employee of the Month turns work into a game and love into a sporting event. — New York Times |
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| Checking Out (2006) | Only Laura San Giacomo, as Morris's lonely daughter, Flo, transcends the staginess of the premise and the creakiness of Richard Marcus's screenplay to deliver a performance that feels remotely natural. — New York Times |
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| Zoom (2006) | Too infantile for tweens and too stagnant for tots, Zoom bleeds boredom from every frame. — New York Times |
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| Psychopathia Sexualis (2006) | Not even necrophilia and the imaginative deployment of leeches can relieve this exercise in unrelenting dullness. — New York Times |
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| See No Evil (2006) | ... the appropriately named Mr. Dark has no use for actors as anything other than body-bag fillers. — New York Times |
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| RevoLOUtion (2006) | Not even a grumpy cameo by Burt Young and some lovely shots of the Brooklyn Bridge can save a movie as punch-drunk as its benighted protagonist. — New York Times |
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| Ultraviolet (2006) | Ultraviolet cleaves faithfully to its comic-book genealogy with a plot unobstructed by big words and images that rarely breach two dimensions. Ultrasilly. — New York Times |
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| Underworld: Evolution (2006) | With leads who strain to manage one facial expression between them, and a cinematographer shooting everything through the same steel-blue filter, Underworld: Evolution is a monotonous barrage of computer-generated fur and fangs. — New York Times |
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| Ethan Mao (2005) | " Even allowing for the burdens of low-budget filmmaking, Ethan Mao is little more than a revenge fantasy for anyone whose parents ever gave him or her a hard time." — New York Times |
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