For 1,022 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 7.2 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 A Glimpse Inside the Mind of Charles Swan III
Score distribution:
1,022 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 67 Nathan Rabin
    There’s something genuine and more than a little sad at the core of Levy’s poorly staged, modestly amusing comedy, but it isn’t the part that involves flash drives, blackmail, and glowering, gun-toting bad guys.
    • 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.
    • 51 Metascore
    • 67 Nathan Rabin
    It's amusing but facile, reasonably clever but hopelessly glib.
    • 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.
    • 62 Metascore
    • 67 Nathan Rabin
    The film is essentially a skillful advertising-industry infomercial that speaks its subject’s slick aesthetic language.
    • 75 Metascore
    • 67 Nathan Rabin
    It’s a fascinating story, it doesn’t always make for a fascinating documentary.
    • 59 Metascore
    • 67 Nathan Rabin
    The Cartel frequently veers into the realm of black comedy, as Bowdon uncovers instances of nightmarish teacher behavior, but the dark comic elements would be better served by deadpan detachment.
    • 63 Metascore
    • 67 Nathan Rabin
    Galifianakis' magnetic performance suggests murky psychological depths the film doesn't have the substance to plumb.
    • 47 Metascore
    • 67 Nathan Rabin
    Burlesque is a terrible film that will delight nearly everyone who sees it, whether they're 12-year-old Christina Aguilera fans or bad-movie buffs angling for a guilty pleasure.
    • 37 Metascore
    • 67 Nathan Rabin
    Really, the whole series would be unthinkable without the films of George Romero. In that respect, Anderson has taken another page from the Corman playbook for his superior B-movie: If you're going to steal, at least steal well.
    • 58 Metascore
    • 67 Nathan Rabin
    Heartless gets progressively better as it goes along, and benefits from a poignant late cameo from Timothy Spall as Sturgess' beloved father, but it never recovers from a dull first hour.
    • 58 Metascore
    • 67 Nathan Rabin
    Brewer's Footloose has sex, swagger, and even an edge of danger, but in the end, he's hamstrung by the project's innate ridiculousness.
    • 50 Metascore
    • 67 Nathan Rabin
    Red State is gloriously unencumbered by fidelity to genre conventions, which lends it a thrilling element of unpredictability even when the action frequently grows shrill and heavy-handed.
    • 51 Metascore
    • 67 Nathan Rabin
    Kormákur and his collaborators want to tell a simple story cleanly, efficiently, and with a refreshing dearth of frills. They more or less realize their aspirations because they aim so low.
    • 69 Metascore
    • 67 Nathan Rabin
    It's more consistently amusing and inspired than an adaptation of an '80s TV show has any right to be.
    • 50 Metascore
    • 67 Nathan Rabin
    Though intermittently bathed in a halo of golden light and desired by at least one handsome, distinguished older man with a thing for mature women with healthy appetites, Streisand in The Guilt Trip is largely devoid of her famous vanity and narcissism.
    • 61 Metascore
    • 67 Nathan Rabin
    By the time everyone in Carnage has revealed themselves, we're left not with flawed human beings, but with monsters of banality whose company represents a brutal form of punishment in itself.
    • 54 Metascore
    • 67 Nathan Rabin
    Genial and pleasant to a fault, the film could benefit from a little more personality.
    • 64 Metascore
    • 67 Nathan Rabin
    For a documentary supposedly focused on fans-it's right there in the title-Comic-Con Episode IV gets awfully distracted by the star power of professional smartasses like Smith and industry titans like Lee.
    • 62 Metascore
    • 67 Nathan Rabin
    The film plays like a strenuous tug of war between the inhuman machinery of a wildly misguided plot and the low-key humanism of Melanie Lynskey's warm yet unsentimental performance.
    • 51 Metascore
    • 67 Nathan Rabin
    Snitch toys with moral ambiguity and fatalism before losing its nerve and delivering the action-movie goods in a climax that hews closer to fantasy than the keenly observed realism of the film’s solid center.