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 Monster-in-Law
Score distribution:
1,022 movie reviews
    • 68 Metascore
    • 80 Nathan Rabin
    While the characters, situations, and gags are all familiar, Shall We Dance?'s gentle humanity and quiet exuberance are contagious.
    • 58 Metascore
    • 80 Nathan Rabin
    Coasts heavily on Chan and Wilson's charm, which would be a big problem if those prodigiously gifted stars weren't taking on roles that fit like two pairs of comfortable slippers.
    • 73 Metascore
    • 80 Nathan Rabin
    Wag The Dog is an oft-hilarious, witty, scathing satire that represents four gifted if uneven artists (De Niro, Hoffman, Levinson, and Mamet) at the top of their respective games.
    • 41 Metascore
    • 80 Nathan Rabin
    Sandler's best movie, a surprisingly touching and consistent comedy that finds him reaching out to new audiences without abandoning the transgressive meanness that has enlivened his best work.
    • 70 Metascore
    • 80 Nathan Rabin
    A nearly unparalleled actor's showcase, the film boasts performances of impressive quality and quantity...Their complexity matches the film's.
    • 78 Metascore
    • 80 Nathan Rabin
    When Lightning In A Bottle steps back and simply lets the old-timers ply their trade, the result is consistently riveting.
    • 61 Metascore
    • 80 Nathan Rabin
    Enduring Love's plot inevitably drifts into “Fatal Attraction” territory, but its wholesale immersion in Craig's deteriorating condition render it a wrenching, uncompromising study of the human mind in freefall.
    • 73 Metascore
    • 80 Nathan Rabin
    Spurlock's film proves yet again that the phrase "crowd-pleasing documentary" doesn't have to be an oxymoron.
    • 65 Metascore
    • 80 Nathan Rabin
    It's a good movie infused with moments of greatness.
    • 72 Metascore
    • 80 Nathan Rabin
    Often uproariously funny, even though much of its queasy power comes from its acknowledgment that some matters are too horrifying to be washed away with cheap laughter, or packaged into soundbites.
    • 79 Metascore
    • 80 Nathan Rabin
    Remarkable and timely film.
    • 58 Metascore
    • 80 Nathan Rabin
    Burton rebounds in a big way with Big Fish, a Daniel Wallace adaptation and visual feast that recaptures the fairy-tale simplicity and wrenching emotional power of "Edward Scissorhands."
    • 75 Metascore
    • 80 Nathan Rabin
    A vibrant, funny, fully realized slice of oft-overlooked cultural, show-business, and black history. It's better than the film whose genesis it chronicles, though inherently doomed to be nowhere near as important.
    • 50 Metascore
    • 80 Nathan Rabin
    A sweet, raucously funny, comic Western that corrects a glaring historical injustice by finally surveying the Old West through the eyes of cows rather than cowboys.
    • 55 Metascore
    • 80 Nathan Rabin
    One of the boldest, most audacious American movies of the last 25 years, a freewheeling cerebral carnival of energy and ideas, if not always coherence or cohesion.
    • 80 Metascore
    • 80 Nathan Rabin
    It's a film hopelessly in thrall to the thrill of big-wave surfing, and for all its rambling shapelessness, it conveys that excitement in an infectious, conspiratorial manner.
    • 77 Metascore
    • 80 Nathan Rabin
    A frenzied, sometimes overreaching biopic that paints in bold colors on a huge canvas, the film stars a never-better Leonardo DiCaprio--as perfectly cast here as he was miscast in "Gangs."
    • 68 Metascore
    • 80 Nathan Rabin
    Afterglow gets off to a weak start—and it's occasionally hampered by stilted dialogue and cutesy conceits; Nolte's character is named Lucky Mann—but it is nevertheless a strong, frequently touching film that benefits from a pair of brilliant performances by Nolte and Christie.
    • 77 Metascore
    • 80 Nathan Rabin
    It’s a soul-stirring tribute to a man whose vision was too bold and revolutionary for his lifetime, or the convention-bound ways of the music industry, but was ultimately too powerful to be denied.
    • 73 Metascore
    • 80 Nathan Rabin
    Joe
    Joe’s brilliance doesn’t lie in its destination, but in the gripping, intense, surprisingly joyous and funny journey it takes to get there.
    • 69 Metascore
    • 80 Nathan Rabin
    Swanberg isn’t doing anything new with Happy Christmas, but sticking to the same non-formula formula this time around yields unprecedentedly inspired results.
    • 61 Metascore
    • 75 Nathan Rabin
    In its loose, ramshackle, gleefully profane first half, Role Models suggests "School Of Rock" with Tourette's, or the original "Bad News Bears" without the baseball.
    • 67 Metascore
    • 75 Nathan Rabin
    Though it grows silly and sentimental, Funeral scores enough big laughs to make its shortcomings eminently forgivable.
    • 69 Metascore
    • 75 Nathan Rabin
    Rosner works for famed Democratic strategist James Carville, who stops just short of dry-humping the camera lens in his hunger for the spotlight here. Our Brand Is Crisis is full of strangely resonant parallels to American politics.
    • 74 Metascore
    • 75 Nathan Rabin
    Take My Eyes might look and sound like an earnest message movie, but its bone-deep understanding of the tricky psychology of abuse feels effortlessly authentic.
    • 68 Metascore
    • 75 Nathan Rabin
    Alternately hypnotic and headache-inducing.
    • 74 Metascore
    • 75 Nathan Rabin
    Ffor all its clumsiness, Sir! No Sir! movingly captures the raw excitement of grunts discovering their power and their voices in their ability to resist.
    • 57 Metascore
    • 75 Nathan Rabin
    What begins as a scathing but loving satire of materialism loses its way once it turns into a warmhearted after-school special about a nice young Jewish boy discovering the true meaning of the bar mitzvah.
    • 61 Metascore
    • 75 Nathan Rabin
    Wah-Wah can't sustain the mastery of its superior first hour, but it maintains a core of truth that sets it apart from less-convincing depictions of boys becoming men.
    • 73 Metascore
    • 75 Nathan Rabin
    The film's subjects are almost uniformly likable, self-deprecating, funny, and hyper-verbal, and their peculiar passion for crosswords and the sense of genial camaraderie among buffs proves surprisingly infectious.