For 1,056 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 7.9 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Your Friends & Neighbors
Lowest review score: 0 Flipped
Score distribution:
1,056 movie reviews
    • 62 Metascore
    • 67 Nathan Rabin
    Like Affleck's performance, Hollywoodland has its affecting moments. But generally it feels like an HBO original movie, where respectable but uninspired execution mars a fascinating subject and great cast.
    • 45 Metascore
    • 67 Nathan Rabin
    While there are moments throughout when the film looks primed to break out of the indie arthouse ghetto, it never quite pulls it off.
    • 52 Metascore
    • 67 Nathan Rabin
    Delivers a steady stream of cheap B-movie thrills, plus two positive messages for young people: Be nice to animals, and when in doubt, always aim for the tendons.
    • 49 Metascore
    • 67 Nathan Rabin
    The film ends with Franken contemplating a run for U.S. Senate, but it's clear that his political campaign began long ago.
    • 58 Metascore
    • 67 Nathan Rabin
    The Bridge packs a visceral emotional wallop. How could it not? But along with plenty of difficult questions, Steel's film leaves a sour, disturbing aftertaste.
    • 54 Metascore
    • 67 Nathan Rabin
    Freeman is clearly enjoying himself, but his charisma and heavyweight presence can't quite redeem this featherweight concoction.
    • 50 Metascore
    • 67 Nathan Rabin
    Crudup delivers a bracing, uncompromising performance, but it's unmistakably a solo turn in a romantic comedy that's supposed to be about the blurring of egos and the fusing of two idiosyncratic voices into a single harmonious duet.
    • 56 Metascore
    • 67 Nathan Rabin
    For much of its duration, December is poignantly bittersweet, but the closing sugar rush washes its pleasing ambiguities away.
    • 63 Metascore
    • 67 Nathan Rabin
    Well-acted yet strangely inert, Fire explores the messy human emotions of grief, but it'd be a lot more resonant if the guy everyone's mourning weren't so fatally perfect, so unforgivably superhuman.
    • 54 Metascore
    • 67 Nathan Rabin
    It's good to have Seinfeld back, even in this watered-down form.
    • 63 Metascore
    • 67 Nathan Rabin
    "Christmas" won't wow anyone with its audacity or originality, but it's bound to make plenty of people happy with its slick, crowd-pleasing familiarity.
    • 69 Metascore
    • 67 Nathan Rabin
    Nichols succeeds in spinning an entertaining yarn, but the cautionary aspects feel fatally undernourished.
    • 48 Metascore
    • 67 Nathan Rabin
    It's a measure of the film's infectious goofiness that Cage seems altogether more interested in clearing the name of a long-dead ancestor than in finding a city of gold.
    • 63 Metascore
    • 67 Nathan Rabin
    City Of Men has its share of problems, but being too entertaining isn't one of them.
    • 51 Metascore
    • 67 Nathan Rabin
    It's a sweet, human movie, if not an entirely successful one.
    • 51 Metascore
    • 67 Nathan Rabin
    It's amusing but facile, reasonably clever but hopelessly glib.
    • 31 Metascore
    • 67 Nathan Rabin
    Dragon Emperor succeeds largely through sheer excess: It's doubtful that any idea was thrown out for being too implausible.
    • 53 Metascore
    • 67 Nathan Rabin
    Like its lead characters, Lucky is wounded, lost, and impractical, but it has a messy, winning humanity and an agreeably leisurely pace that almost redeems it.
    • 76 Metascore
    • 67 Nathan Rabin
    It's a huge improvement over the Attenborough film; given the film’s non-fiction roots, it seems poetically apt that a documentary take is much more satisfying and engaging than the Hollywood treatment.
    • 83 Metascore
    • 67 Nathan Rabin
    Tyson can be brutal with himself, but Toback's fawning documentary lets him off easy.
    • 55 Metascore
    • 67 Nathan Rabin
    If ever a film needed a double shot of espresso and a swift kick in the caboose, it's this one. At best, the film is hypnotic; at worst, it challenges--no, dares--audiences not to fall asleep.
    • 59 Metascore
    • 67 Nathan Rabin
    Love looks and sounds great, but in depicting N’Dour as a lofty symbol for music’s power to bridge worlds and inspire, it sometimes loses sight of the man.
    • 66 Metascore
    • 67 Nathan Rabin
    Throughout its first two acts, Bandslam is charming, sweet, and funny enough to merit inclusion in the upper echelon of teen comedies. Then comes a third act weighed down with arbitrary romantic conflicts, leaden melodrama, and a tiresome subplot.
    • 62 Metascore
    • 67 Nathan Rabin
    The film is essentially a skillful advertising-industry infomercial that speaks its subject’s slick aesthetic language.
    • 69 Metascore
    • 67 Nathan Rabin
    A fascinating, frustrating documentary.
    • 68 Metascore
    • 67 Nathan Rabin
    Paris flits from story to story and character to character without doing justice to any of them.
    • 55 Metascore
    • 67 Nathan Rabin
    With Bad, Perry is savvy enough to let riveting musical numbers by ringers like Gladys Knight and Mary J. Blige--along with Henson’s deeply empathetic performance--carry the film’s feverish emotions more than his characteristically ham-fisted screenplay.
    • 75 Metascore
    • 67 Nathan Rabin
    It’s a fascinating story, it doesn’t always make for a fascinating documentary.
    • 63 Metascore
    • 67 Nathan Rabin
    Arteta’s well-intentioned film version feels simultaneously overstuffed and undercooked.
    • 67 Metascore
    • 67 Nathan Rabin
    Though The Eclipse travels a sleepy route to a shrug of anticlimax, it’s refreshing to see a film acknowledge that life and love don’t end at 50, even in the outsized shadow of a soulmate’s death.

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