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 Catch Me If You Can
Lowest review score: 0 Epic Movie
Score distribution:
1,068 movie reviews
    • 47 Metascore
    • 42 Nathan Rabin
    Carter and his underachieving cohorts have seldom given cultists less to believe.
    • 40 Metascore
    • 42 Nathan Rabin
    It would be hard to imagine a film with less going for it than Dance Flick.
    • 40 Metascore
    • 40 Nathan Rabin
    Instead of building toward a grand romantic climax, it just gets sillier before exploding into a torrent of unintended laughs.
    • 43 Metascore
    • 40 Nathan Rabin
    A film divided against itself. Granted, neither part is particularly distinguished or appealing but the old-timey sports-movie elements at least possess a quaint charm. Unfortunately, that's wholly negated by the film's stumbling attempts at comic relief.
    • 34 Metascore
    • 40 Nathan Rabin
    Its pleasures are all glib and surface-level, although Luke and Patton have enough chemistry to make their painfully clichéd relationship go down smoothly.
    • 52 Metascore
    • 40 Nathan Rabin
    While the film is often playful, it never attempts to be particularly funny, perhaps out of a fear that too much levity in a World War II-themed movie would be in poor taste. Instead, it loads on great quantities of tacky crowd-pleasing moments and clichés.
    • 42 Metascore
    • 40 Nathan Rabin
    The film is curiously joyless and inert.
    • 41 Metascore
    • 40 Nathan Rabin
    It's become a tired cliché for characters in "serious" science-fiction movies not to realize they're dead or dying, but Stay as a film doesn't seem to realize that it's dead from the outset, an unconvincing automaton grimly going through the motions.
    • 58 Metascore
    • 40 Nathan Rabin
    Like much of Mann's work, it's an unabashed love letter to the counterculture. But this time out, Mann has made an unintentionally vicious satire of the fuzzyheaded self-intoxication and impracticality of the progressive left, a film that's far more scathing than anything Tom Wolfe could dream up.
    • tbd Metascore
    • 40 Nathan Rabin
    The film doesn't begin to take off until its second half, when it thankfully shucks its weak supporting cast and turns into a three-way battle of wits involving Jackson, Jovovich, and Skarsgård, its wiliest and most compelling characters.
    • 67 Metascore
    • 40 Nathan Rabin
    Forster's movie doesn't want to grow up, but it doesn't seem to understand childhood, either. For a film about the life-affirming power of imagination, Finding Neverland displays precious little of its own.
    • 25 Metascore
    • 40 Nathan Rabin
    The film begins to resemble the dramatic equivalent of a porno movie, with emotional orgasms spewing forth at a rapid clip. By the time Patch Adams reaches its narrative climax, it has long since shot its dramatic load.
    • 40 Metascore
    • 40 Nathan Rabin
    Lawrence's public foibles haven't magically transformed him into a comic genius, but they have made his act surprisingly poignant, if never especially funny or profound.
    • 33 Metascore
    • 40 Nathan Rabin
    Uptown Girls refuses to make Fanning likable, which speaks to a certain misplaced integrity, and tends to throw a wrench in the film's halfhearted attempts at formula.
    • 36 Metascore
    • 40 Nathan Rabin
    Gaghan shows promise as a director, but Abandon leaves a lot of room for improvement.
    • 37 Metascore
    • 40 Nathan Rabin
    The screenplay relies far too heavily on coincidences, misunderstandings, and characters purposefully not saying things for reasons rooted in plot contrivances rather than clear motivation.
    • 47 Metascore
    • 40 Nathan Rabin
    The tantalizing promise of 90 heavenly minutes of Ryan Reynolds in a roly-poly fatsuit and unconvincing tubby make-up (which make him look like a younger version of Martin Short's Jiminy Glick) proves a case of the old bait-and-switch.
    • 60 Metascore
    • 40 Nathan Rabin
    Norton is a strong lead in an overwrought, mediocre film that trumps even Hannibal in its mercenary shamelessness.
    • 47 Metascore
    • 40 Nathan Rabin
    It's refreshing to see an American movie with an Indian protagonist not played by a white actor in makeup, but it would be a lot more refreshing if that actor (Jimi Mistry) were given a character to play, not just a comic conceit and near-toxic levels of enthusiasm.
    • 43 Metascore
    • 40 Nathan Rabin
    Wonderland is to "Boogie Nights" what "Blow" was to "Goodfellas": an accomplished knockoff with all the tricks and none of the soul.
    • 54 Metascore
    • 40 Nathan Rabin
    A comedy with a terrific premise and little else.
    • 48 Metascore
    • 40 Nathan Rabin
    The film feels epic in scope, visually at least, but the depth of its deep-focus composition is bitterly at odds with the flimsiness of its characterization and plotting.
    • 25 Metascore
    • 40 Nathan Rabin
    It’s a passable knock-off of less-godly but more inspired secular fare, which may not sound like high praise, but is clearly all the filmmakers were aiming for. They set the bar low enough to clear it.
    • 31 Metascore
    • 40 Nathan Rabin
    Lunchbox-toting time-waster.
    • 65 Metascore
    • 40 Nathan Rabin
    Boasts an action-movie plot and an action-movie title, but precious little action. It's a lovely film about brutal men, but its integrity and visual splendor ultimately can't make up for its overall lack of visceral excitement.
    • 24 Metascore
    • 40 Nathan Rabin
    A comedy just funny enough to make viewers wish it were far funnier.
    • 38 Metascore
    • 40 Nathan Rabin
    Moore works to feign vitality where none exists, but that just makes it even more embarrassing to watch her writhe around fruitlessly in the most thankless and ill-fitting of roles.
    • 55 Metascore
    • 40 Nathan Rabin
    Nothing is surprising about The Hundred-Foot Journey. It’s a film that telegraphs all its beats and character arcs, executes them adequately but without passion or personality, then congratulates itself on a job done.
    • 50 Metascore
    • 40 Nathan Rabin
    The pleasure to be derived from watching a loopy Australian risk life and limb is not to be dismissed or underrated, but Collision Course proves that that guilty pleasure, no matter how potent, just isn't a solid basis for a film.
    • 44 Metascore
    • 40 Nathan Rabin
    A vanity project about a vanity project.

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