For 1,068 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 8.5 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Eyes Wide Shut
Lowest review score: 0 I Hate Valentine's Day
Score distribution:
1,068 movie reviews
    • 44 Metascore
    • 60 Nathan Rabin
    The film is ostensibly about sex and swinging, but in depicting the complex boundaries of the sexual fringe, it ends up saying a lot about the joys and frustrations of maintaining any relationship.
    • 77 Metascore
    • 60 Nathan Rabin
    Makes a terrific case for the group's historical importance, even though its performances seem more fun to discuss than watch.
    • 54 Metascore
    • 60 Nathan Rabin
    Entrapment is ostensibly some sort of action film, but perhaps out of deference to its sleepwalking star, it moves slowly and contains very little actual action.
    • 72 Metascore
    • 60 Nathan Rabin
    The astonishing visual poetry of Step Into Liquid's best surfing footage nearly compensates for the mindless boosterism of Brown's constant narration and the often comically banal observations of the film's largely homogeneous master surfers.
    • 48 Metascore
    • 60 Nathan Rabin
    Gets off to a bumpy start and runs into trouble along the way, but once it gets going, it's surprisingly warm and engaging.
    • 64 Metascore
    • 60 Nathan Rabin
    Simultaneously a contrived piece of hokum and an absorbing, old-fashioned mystery.
    • 47 Metascore
    • 60 Nathan Rabin
    The General's Daughter isn't a poorly made or acted film, but it's so shallow, hypocritical, and sleazy that it's difficult not to find it repulsive.
    • 35 Metascore
    • 60 Nathan Rabin
    I Spy confirms Wilson's ability to turn mediocre, mercenary endeavors into fun crowd-pleasers. Of course, Wilson starring in I Spy is like Phil Jackson coaching a junior-high basketball team, but as long as the results are this entertaining, it's doubtful audiences will care.
    • 72 Metascore
    • 60 Nathan Rabin
    There's a terrific short film somewhere inside Mark Moskowitz's feature-length documentary Stone Reader. Unfortunately, it's buried within a flabby 128-minute slog that feels like a rough draft nobody had the heart to edit down.
    • 40 Metascore
    • 60 Nathan Rabin
    Aided by cinematographer Caleb Deschanel, Friedkin works economically, lending the film the mark of a master craftsman, albeit of the coldly efficient variety. The terseness and surplus of technical skill make The Hunted surprisingly engaging.
    • 73 Metascore
    • 60 Nathan Rabin
    Like his makeshift societies, Garland's tantalizing set-ups tend to unravel in unsatisfying ways.
    • 51 Metascore
    • 60 Nathan Rabin
    Johnny English's international popularity may or may not translate here, but in a sequel-glutted summer, even a mildly amusing time-waster can't help but stand out.
    • 70 Metascore
    • 60 Nathan Rabin
    A sprint when it should be a marathon, Yossi & Jagger crackles with promise, but much of it goes unrealized. Without the time or resources to develop its characters and overstuffed plot, the result feels like the Cliffs Notes for a longer, more satisfying film.
    • 66 Metascore
    • 60 Nathan Rabin
    Doesn't pretend to be objective, and the film derives much of its power from the way it invites audiences to look at the rapper's life and times through his own soulful, animated eyes. It doesn't always succeed, and there are times when it feels terribly strained.
    • 54 Metascore
    • 60 Nathan Rabin
    Mortensen nicely underplays his role, offhandedly tossing off one-liners and making the script's sometimes purple dialogue sound a little less cheesy, but the rest of the film often lurches into hammy overdrive.
    • 46 Metascore
    • 60 Nathan Rabin
    Isn't as sharp or consistent as Murphy's "The Nutty Professor," but it's an amusing, lightweight diversion.
    • 57 Metascore
    • 60 Nathan Rabin
    Cleverly realizing a novel premise, it's a slight but charming look at the lighter side of WWII.
    • 56 Metascore
    • 60 Nathan Rabin
    A glossy, attractive, ultimately empty soap opera that -- despite being based on a true story -- never seems remotely plausible.
    • 73 Metascore
    • 60 Nathan Rabin
    Without a unifying authorial voice to tie it together, the film often feels shapeless and rambling, brought together by little more than free-ranging contempt for capitalism's excesses.
    • 64 Metascore
    • 60 Nathan Rabin
    It boldly subverts stereotypes and challenges conventional wisdom by presenting affable Korean and Indian antiheroes who are just as sex-crazed, irresponsible, mischief-prone, and chemically altered as their white counterparts.
    • 60 Metascore
    • 60 Nathan Rabin
    Uncovered could easily come off as dull or strident, but the administration's arrogance and disregard for the safeguards and transparency necessary for democracy give the documentary an outraged charge that overshadows its staid execution.
    • 56 Metascore
    • 60 Nathan Rabin
    Embracing ugliness, lousy production values, and borderline hysteria as virtues, A Dirty Shame is one for the cultists, a proud retreat back into the sandbox of sexual juvenilia, a potty-mouthed manifesto from an elder statesman of shock.
    • 68 Metascore
    • 60 Nathan Rabin
    During his clumsiest moments, Davis' fondness for provocation rises to the surface, which is unfortunate, since it weakens the impact of his many salient points about how American men are socialized to be warriors.
    • 47 Metascore
    • 60 Nathan Rabin
    A mess, but for the most part it's a fascinating mess. It helps that it boasts great acting all around--not just from Cusack, Thornton, and Jolie, but also from Cate Blanchett
    • 55 Metascore
    • 60 Nathan Rabin
    At heart it's a randy, oversexed soap opera in period garb.
    • 59 Metascore
    • 60 Nathan Rabin
    It wants to humanize the plight of the disabled, but it undermines its worthy aims by presenting its leads as martyrs and saints.
    • 64 Metascore
    • 60 Nathan Rabin
    It's as notable for what it isn't as for what it is, but in a field full of loud, obnoxious fare, its easygoing affability qualifies as a welcome change of pace.
    • 55 Metascore
    • 60 Nathan Rabin
    Once Milk And Honey stops lurching after huge, actorly moments of near-psychotic intensity, it loosens up and actually gets around to telling a reasonably compelling human story.
    • 37 Metascore
    • 60 Nathan Rabin
    Thankfully, State Of The Union's pulpy, adrenalized blaxploitation spin on the secret-agent genre provides the dumb fun its predecessor should have dished out.
    • 56 Metascore
    • 60 Nathan Rabin
    It's no surprise that when it ultimately tries to pluck at the heartstrings, it rings hollow. The film lives and dies by speed.
    • 52 Metascore
    • 60 Nathan Rabin
    Dark Water devolves into something resembling genre schlock, albeit the kind featuring zesty supporting performances from the classy, Oscar-nominated likes of John C. Reilly, Tim Roth, and Pete Postlethwaite.
    • 56 Metascore
    • 60 Nathan Rabin
    Undemanding, upscale, and agreeable enough in a low-key kind of way. It's a film of subtle, ingratiating charm rather than explosive revelations.
    • 45 Metascore
    • 60 Nathan Rabin
    In a star-making performance, Evan Rachel Wood stars as essentially a younger version of Nicole Kidman's media-age femme fatale from "To Die For," an aspiring 15-year-old actress who hides a sharp, calculating mind behind a façade of vapid, chattering self-absorption.
    • 47 Metascore
    • 60 Nathan Rabin
    It's glossy, dumb fun that is diverting enough but forgotten 20 minutes after it's over.
    • 70 Metascore
    • 60 Nathan Rabin
    Ushpizin's effortlessly authentic depiction of Jewish orthodoxy--and the palpable, almost ecstatic sense of joy its characters take in it--ultimately tips the film's hand.
    • 65 Metascore
    • 60 Nathan Rabin
    Regrettably, Bate uses many of the tools of tabloid television in making his case, including heavy-handed reenactments, an ominous, sinister score, and overly dramatic narration delivered in a voice shaking with outrage.
    • 61 Metascore
    • 60 Nathan Rabin
    The heroic struggle of its subject is clearly meant to inspire, but it also seems destined to shame weak-willed viewers who'd crumble under much less formidable obstacles.
    • 43 Metascore
    • 60 Nathan Rabin
    Dealin’ With Idiots is at its strongest when it forgets about plot and character development altogether (which is most of the time) and gives itself over to the laid-back pleasure of improvisation among veteran professionals finding and exploring a good groove together.
    • 51 Metascore
    • 60 Nathan Rabin
    Parkland finds a new angle on an exhaustively chronicled and debated subject by focussing on the grim practicalities of the situation.
    • 59 Metascore
    • 60 Nathan Rabin
    The Best Man Holiday alternates smoothly between raucous comedy and soap opera for a solid hour... Yet the balance begins to tip toward leaden melodrama in the crazily overloaded third act, which speeds past the line separating crowd-pleasing from crowd-pandering.
    • 62 Metascore
    • 60 Nathan Rabin
    All The Light In The Sky is a refreshingly grown-up exploration of a woman at a personal and professional crossroads that’s stronger for never pushing its narrative or its finely wrought lead character in the direction of big moments or bullshit epiphanies. It’s casual, but also quietly moving.
    • 47 Metascore
    • 60 Nathan Rabin
    Interior. Leather Bar.’s intriguing curiosity provides ample food for thought, in part because it’s the rare film that devotes much of its running time to its own principals discussing what, if anything, the film ultimately means.
    • 41 Metascore
    • 60 Nathan Rabin
    This is time-worn, overly familiar material, indifferently directed by journeyman Tim Story, but Hart’s manic comic invention and textured persona elevates it somewhere beyond the level of pleasing mediocrity onto the slightly more distinguished realm of the agreeable-enough time waster.
    • 61 Metascore
    • 60 Nathan Rabin
    To its credit and sometimes detriment, Grand Piano keeps a frothing-at-the-mouth level of insane melodrama going for 75 minutes, aided by Wood’s sweaty, terrified performance, a screenplay rich in ridiculous contrivances, and a swooping camera that never stands still.
    • 64 Metascore
    • 60 Nathan Rabin
    As a period production, Belle is gorgeous, dazzling spectacle, replete with ornate costumes, lovely sets, and in Mbatha-Raw, a striking, charismatic lead. But the film never finds a way to invest its narrative with a sense of urgency.
    • 44 Metascore
    • 60 Nathan Rabin
    MacFarlane’s follow-up feels less like a film than like an extremely long, fairly inspired live-action episode of Family Guy, one that’s only as strong as the latest gag or riff. And this being a Seth MacFarlane production, those gags and riffs are of varying levels of quality.
    • 55 Metascore
    • 60 Nathan Rabin
    It’s a slick crowd-pleaser, but it’s perversely unrevealing about anything other than Manganiello’s affection for a the stripper experience.
    • 64 Metascore
    • 60 Nathan Rabin
    Fury lives up to its title with its great ferocity, but at a certain point, it begins to feel like a macho fantasy.
    • 45 Metascore
    • 58 Nathan Rabin
    In spite of End Of The Spear's fundamental conservatism, the missionaries' disastrous initial encounter with the Waodani ultimately teaches the progressive message that when it comes to winning the hearts and minds of foreign cultures, Bibles and superior technology are no substitute for a thorough understanding of their language and culture.
    • 64 Metascore
    • 58 Nathan Rabin
    Something New sets out to dramatize just how little society's attitudes toward interracial relationships have changed over the past few decades, but instead ends up documenting just how little the interracial-romance message movie has evolved since the clumsy days of "Guess Who's Coming To Dinner."
    • 58 Metascore
    • 58 Nathan Rabin
    Had they ended 20 minutes in, "Wedding Crashers" would qualify as a gut-busting triumph, and Hard Candy would be a miniature masterpiece.
    • 58 Metascore
    • 58 Nathan Rabin
    Following two superior entries, Ratner's slick placeholder of a sequel lacks that crucial X-factor called inspiration.
    • 60 Metascore
    • 58 Nathan Rabin
    Perhaps it was inevitable that a movie about the ultimate stoner would be undone by fuzzy execution and lack of ambition.
    • 53 Metascore
    • 58 Nathan Rabin
    Removing many of the mythical elements of the tale is an intriguing idea that would undoubtedly have paid richer dividends if it didn't mean relying on a heavy who looks like a cross between a Neanderthal on steroids and stilts, and an unusually hirsute wrestler.
    • 61 Metascore
    • 58 Nathan Rabin
    It's refreshing to see a film that so directly addresses the issues and concerns of a vast, overlooked demographic, but it'd be much more satisfying if Boynton did more than just affably skate along the surface.
    • 53 Metascore
    • 58 Nathan Rabin
    Keeping Mum never really gets going, and it inches to the finish line like a narcoleptic turtle.
    • 47 Metascore
    • 58 Nathan Rabin
    There's something almost perversely old-fashioned about Flyboys.
    • 56 Metascore
    • 58 Nathan Rabin
    Perfume is ultimately an unmistakable failure, but there's a strange majesty to its epic overreaching. It can be faulted for many things, but not for lacking the courage of its convictions.
    • 67 Metascore
    • 58 Nathan Rabin
    By recounting Abbas' ordeal as an endless inarticulate monologue, The Prisoner reduces it to a dull anecdote--timely and relevant, perhaps, but an anecdote all the same.
    • 36 Metascore
    • 58 Nathan Rabin
    The Reaping is Bible camp, pure and simple. And for bad-movie lovers, it's manna from heaven.
    • 52 Metascore
    • 58 Nathan Rabin
    Sadly, there's a thin line between goofing irreverently on the maddeningly convoluted nature of spy thrillers and actually being a muddled mess, and Fay Grim crosses it constantly during its deadly second hour.
    • 69 Metascore
    • 58 Nathan Rabin
    It's regrettable that Joshua veers into outlandish "Omen/Bad Seed/Good Son" territory when the real terror lies much closer to home.
    • 39 Metascore
    • 58 Nathan Rabin
    Sensual but profoundly silly, Silk is ultimately little more than softcore porn with arthouse trappings, a moony, dopily romantic "Red Shoe Diaries" variation for the NPR set.
    • 51 Metascore
    • 58 Nathan Rabin
    Maybe Benton's serenely dull time-waster should take a cue from one of its main settings, and become the first Hollywood film released directly to coffee shops. Otherwise, it seems destined to find an indulgent second home as an unusually classy slot-plugger over at Lifetime.
    • 46 Metascore
    • 58 Nathan Rabin
    Rambo works best as a pure action movie devoted to delivering the cheapest kicks imaginable--and to a much lesser extent, to bringing attention to human-rights violations and genocide in Asia.
    • 29 Metascore
    • 58 Nathan Rabin
    Tennant keeps his extravagantly stupid new comedy breezing along affably on the strength of photogenic locales, obscenely beautiful stars, a laid-back soundtrack, and a wholesale unwillingness to take itself the least bit seriously.
    • 66 Metascore
    • 58 Nathan Rabin
    As in the more successful "Land Of The Dead," Romero makes an admirable attempt to update his beloved franchise for contemporary audiences. But this time out, his heavy-handed intellectual concerns get in the way of a perfectly good fright flick.
    • 47 Metascore
    • 58 Nathan Rabin
    Deserves credit for attempting something more emotional and dramatic than the typical Ferrell gagfest, but Harrelson and Benjamin's earnest subplots cost the film comic momentum and big laughs without adding much in return.
    • 48 Metascore
    • 58 Nathan Rabin
    Fatboy nearly succeeds in spite of itself, thanks to Pegg, who makes a character who does some detestable things seem strangely likeable.
    • 33 Metascore
    • 58 Nathan Rabin
    Undiscriminating comedy fans hungering for the High School High of superhero parodies need look no further.
    • 75 Metascore
    • 58 Nathan Rabin
    There's a wealth of great material here, especially a shattering performance of Coldplay's "Fix You" by a soulful mountain of a man named Fred Knittle.
    • 52 Metascore
    • 58 Nathan Rabin
    A sports movie like every other, but the excellent, lived-in performances of Cube and Palmer make it a mildly affecting.
    • 53 Metascore
    • 58 Nathan Rabin
    Dowdle manages a few nice shocks and some neat moments of pitch-black gallows humor, but Quarantine nevertheless feels awfully familiar, and it grows less convincing with each passing moment. At its worst, it abandons realism entirely and flirts with gory kitsch.
    • 49 Metascore
    • 58 Nathan Rabin
    Sex Drive offers a limp variation on a hoary old teen-film trope.
    • 46 Metascore
    • 58 Nathan Rabin
    The Dukes could use more music and less sap, but it's refreshing to see a film about the problems of working-class men on the far side of middle age, struggling just to get by.
    • 60 Metascore
    • 58 Nathan Rabin
    Notorious suffers from biopic-itis, that regrettable tendency to reduce complicated lives to a greatest-hits assemblage of melodramatic highs and agonizing lows.
    • 38 Metascore
    • 58 Nathan Rabin
    The degree to which Shopaholic actually works is a testament to the looks, charm, and comedic chops of Fisher, who stole "Wedding Crashers" and has a gift for slapstick that places her somewhere between Téa Leoni and Lucille Ball in the pantheon of foxy redheaded physical comediennes.
    • 52 Metascore
    • 58 Nathan Rabin
    Ultimately feel so empty and forgettable.
    • 50 Metascore
    • 58 Nathan Rabin
    Madea's physical comedy is loud enough to wake the dead, but its drama is just as excessive. In a neat bit of economy, Perry stages a wedding that doubles as a breakup, and triples as the villain's crowd-pleasing comeuppance. Now that is some serious multitasking.
    • 69 Metascore
    • 58 Nathan Rabin
    The female lead in Duplicity calls for the kind of atomic, glow-in-the-dark, Rita Hayworth-in-Gilda sexuality that is most assuredly out of Roberts' range. Angelina Jolie effortlessly conjures up that kind of fire-breathing sexiness. Roberts? Not so much.
    • 61 Metascore
    • 58 Nathan Rabin
    There is a time and a place for scruffy independent also-rans like this, and that time and place is the 2 a.m. slot on IFC.
    • 63 Metascore
    • 58 Nathan Rabin
    Buck Howard has a nice feel for its tacky, second-rate show-business milieu--a rinky-dink world of telethons, small towns starved for entertainment, and entertainers whose careers have been in freefall since Hollywood Squares went off the air.
    • 38 Metascore
    • 58 Nathan Rabin
    There's something strangely charming about films that are all artifice, explosions, and naked calculation. 12 Rounds is at least honest trash: It never pretends to be anything other than manic schlock.
    • 50 Metascore
    • 58 Nathan Rabin
    Like its protagonist, Management is dopey and impractical, but strangely winning all the same.
    • 56 Metascore
    • 58 Nathan Rabin
    Dancy’s character has difficulty processing information and dealing with emotion, but even he could probably see through this schmaltz.
    • 57 Metascore
    • 58 Nathan Rabin
    Not surprisingly, Boys works much better as an Owen vehicle than a movie--it’s a great, meaty part in a decidedly less-than-great film.
    • 65 Metascore
    • 58 Nathan Rabin
    It takes more than just the ominous tread of Nazi boots to infuse gravitas into this well-intentioned but dreary look at the female mind and body during wartime.
    • 67 Metascore
    • 58 Nathan Rabin
    At best, it angrily demands to be rechristened This Is It! Too often, however, an incredulous This Is It? seems more apt.
    • 49 Metascore
    • 58 Nathan Rabin
    Perhaps television will prove a better medium to explore Weir’s idiosyncrasies than this engaging yet superficial documentary.
    • 43 Metascore
    • 58 Nathan Rabin
    To quote Yogi Berra, it’s déjà vu all over again.
    • 63 Metascore
    • 58 Nathan Rabin
    Engaging enough, but its characters’ path to redemption would be more satisfying if it weren’t greased with authentically ’80s-style casual sexism, gay panic, and frat-comedy clichés.
    • 43 Metascore
    • 58 Nathan Rabin
    It isn’t exactly good, but for audiences in search of nothing more than a few silly chuckles, it should prove good enough.
    • 69 Metascore
    • 58 Nathan Rabin
    In a pressure-cooker environment, Pennebaker and Hegedus' moderately engaging but ultimately unsatisfying documentary feels disappointingly lukewarm.
    • 54 Metascore
    • 58 Nathan Rabin
    It's difficult to figure out exactly where the film might be heading at any given point, since it follows the loping, meandering rhythms and casualness of a character study rather than conforming to the conventions of any particular genre.
    • 52 Metascore
    • 58 Nathan Rabin
    Dominic Cooper is electrifying yet stiff in The Devil's Double; he's simultaneously the film's biggest asset and its greatest flaw.
    • 60 Metascore
    • 58 Nathan Rabin
    Rudd ably carries the film while retaining a light touch, though even with Rudd in the lead, it's still a featherweight trifle, an afternoon nap of a feel-good comedy.
    • 44 Metascore
    • 58 Nathan Rabin
    A Good Old Fashioned Orgy takes its cues from Sudeikis' character and performance: It's randy, good-natured, moderately amusing, and charming in a glib, facile way.
    • 64 Metascore
    • 58 Nathan Rabin
    Dolphin Tale is as casual as a pleasant afternoon nap and about as substantive.

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