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 8.4 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 There Will Be Blood
Lowest review score: 0 The Mod Squad
Score distribution:
1,068 movie reviews
    • 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.
    • 58 Metascore
    • 58 Nathan Rabin
    Following two superior entries, Ratner's slick placeholder of a sequel lacks that crucial X-factor called inspiration.
    • 37 Metascore
    • 58 Nathan Rabin
    Trespass begins loopy and mounts in craziness until it's frothing-at-the-mouth insane. It's hard to sustain that level of inspired lunacy over the course of 90 minutes, but Trespass is up to the challenge. As always, it's foolish to underestimate the appeal of Cage at his most agreeably unhinged.
    • 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.
    • 48 Metascore
    • 58 Nathan Rabin
    The film's 121-minute running time is similarly cause for concern. Lee can be tight and focused as a gun-for-hire, but he's always viewed personal projects as irresistible invitations to self-indulgence and overreaching. Red Hook Summer is no exception.
    • 53 Metascore
    • 58 Nathan Rabin
    The effortlessly charming Rudd - who is never funnier here than when trying to psych himself up for a tryst with commune-dweller Malin Akerman with a series of increasingly preposterous voices - and an attractive, game supporting cast nearly sell the warmed-over material.
    • 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.
    • 52 Metascore
    • 58 Nathan Rabin
    Ultimately feel so empty and forgettable.
    • 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.
    • 33 Metascore
    • 58 Nathan Rabin
    Undiscriminating comedy fans hungering for the High School High of superhero parodies need look no further.
    • 69 Metascore
    • 58 Nathan Rabin
    In a pressure-cooker environment, Pennebaker and Hegedus' moderately engaging but ultimately unsatisfying documentary feels disappointingly lukewarm.
    • 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.
    • 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.
    • 51 Metascore
    • 58 Nathan Rabin
    Nobody Walks is Mumblecore 2.0: The budget is bigger, the cast is littered with recognizable faces from popular television programs, and the production values are more impressive, but the fixation with the low-key, artsy angst of rudderless twenty- and thirtysomethings remains constant.
    • 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.
    • 49 Metascore
    • 58 Nathan Rabin
    Perhaps television will prove a better medium to explore Weir’s idiosyncrasies than this engaging yet superficial documentary.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 46 Metascore
    • 58 Nathan Rabin
    Johnny English Reborn's sharpest gags riff on its protagonist's unshakeable Britishness.
    • 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.
    • 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.
    • 45 Metascore
    • 58 Nathan Rabin
    Detention is ballsy, audacious, and uncompromising, but the overall effect of Kahn's Hellzapoppin-meets-Twitter aesthetic is exhausting rather than energizing. It's an ice-cream headache of a movie-movie that's so relentlessly "fun," it's borderline obnoxious.
    • 30 Metascore
    • 50 Nathan Rabin
    The film exists for its shots of telegenic youngsters busting loose to a bankable soundtrack, and it's the cheesy dialogue, overstuffed plot, and predictable character arcs that come across as superfluous.
    • 37 Metascore
    • 50 Nathan Rabin
    Though it's never wise to underestimate the power or universal appeal of Rai's cleavage and lustrous hair, that's about all that sets the doggedly mediocre The Last Legion apart from every other sword-and-sandal epic about the origins of Camelot.
    • 58 Metascore
    • 50 Nathan Rabin
    The filmmakers don't seem to realize that if a movie with a mythology this groan-inducingly convoluted doesn't have a sense of humor about itself, the laughs are going to come anyway. They just won't be of the intentional variety.

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