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 Eyes Wide Shut
Lowest review score: 0 Nowhere Man
Score distribution:
1,068 movie reviews
    • 63 Metascore
    • 50 Nathan Rabin
    It's agreeably mediocre, a cinematic paperback novel transformed into the kind of fare folks mindlessly consume on planes and forget about before touching down.
    • 24 Metascore
    • 50 Nathan Rabin
    London has a distinct Off-Off-Broadway feel. There's a stagebound quality to its handful of claustrophobic locations, its endless assault of intense coke talk, and its third-rate invocation of David Mamet, David Rabe, and Neil LaBute.
    • 55 Metascore
    • 50 Nathan Rabin
    It loses its superficial charm during a labored third act that gets bogged down in tired, groan-inducing subplots.
    • 52 Metascore
    • 50 Nathan Rabin
    The film almost redeems itself with what may be the longest, most elaborate post-film/pre-credits sequence in film history, but it will still disappoint anyone expecting more than watchable trash.
    • 60 Metascore
    • 50 Nathan Rabin
    With a little tweaking, this easily could have veered into grindhouse exploitation or mindless wish-fulfillment, but Schwimmer's detached, theatrical approach to his material makes it is more cerebral than visceral, and more Steppenwolf Theatre than Charles Bronson.
    • 50 Metascore
    • 50 Nathan Rabin
    The central romance is terminally bland, while Evigan's woozy family melodrama seems borrowed from countless superior dance movies.
    • 63 Metascore
    • 50 Nathan Rabin
    Heavily indebted to the early work of Jim Jarmusch, both for its evocative use of black and white and its tone of deadpan quirkiness, Suddenly is typical arthouse fare, long on atmosphere and fine acting but short on urgency and ambition.
    • 52 Metascore
    • 50 Nathan Rabin
    How can any comedy with Jack Black as a Mexican wrestler not be gut-bustingly hilarious? Nacho Libre provides an all-too-convincing answer.
    • 74 Metascore
    • 50 Nathan Rabin
    The Skeleton Twins has a pair of terrific, sharply etched lead performances, a polished, autumnal look, and some affecting moments where its protagonists bond. But to borrow a water-based metaphor from the film’s overflowing stock of them, The Skeleton Twins just lies there, cold and clammy, like a dead fish.
    • 56 Metascore
    • 50 Nathan Rabin
    Just because a film takes place entirely in the long shadow of death doesn't mean it has to be this relentlessly dour.
    • 35 Metascore
    • 50 Nathan Rabin
    Like the film itself, Ruffalo and Aniston exacerbate a bad, unfeasible idea with clumsy execution, exerting a whole lot of energy and effort for very little payoff.
    • 54 Metascore
    • 50 Nathan Rabin
    Smith emerges as this subtlety-impaired film's most intriguingly ambiguous character, at times an acid-tongued shrew and at others a bluntly righteous truth-teller. The liveliness of her performance helps ensure that while Married is stiffly written, didactic, and whiplash-inducing in its tonal shifts, it's also very seldom dull.
    • 54 Metascore
    • 50 Nathan Rabin
    Spectacularly, unimpeachably, relentlessly preposterous.
    • 53 Metascore
    • 50 Nathan Rabin
    Yes, Rent is the movie about AIDS, heroin addiction, homosexuality, strippers, marijuana, cross-dressing, and bisexuality audiences can take their grandparents to go see safe in the knowledge that any lingering trace of danger or authenticity has been carefully removed by director/co-writer Chris Columbus.
    • 32 Metascore
    • 50 Nathan Rabin
    The lucky Mulroney gets to play the kind of sensitive hunk that women want and men want to be, but he's the only one who can be heard over the tired wheezing of the romantic-comedy machinery.
    • 50 Metascore
    • 50 Nathan Rabin
    Well-intentioned but muddled, Face groans under the weight of its earnest ambition.
    • 63 Metascore
    • 50 Nathan Rabin
    The film's good intentions gradually get lost in a sea of overwrought contrivances, stock characters, awkward cameos from B- and C-listers (R&B singer Keyshia Cole and not-so-funnyman DeRay Davis) and warmed-over family issues.
    • 43 Metascore
    • 50 Nathan Rabin
    Offers plenty of eye candy, if little else. Ultimately, the film is clearly superior to its predecessor, but that's mostly because the first Tomb Raider left so much room for improvement.
    • 64 Metascore
    • 50 Nathan Rabin
    With the exception of its bland leads, Back In Action's frenetic plot serves as its biggest weakness, but it at least provides the framework for two Tashlin-worthy setpieces.
    • 62 Metascore
    • 50 Nathan Rabin
    Incident is too reverent for its own good. It could use a big blast of Herzog-like madness, but it sticks to the conventional show-business satire's arsenal of clichés.
    • 49 Metascore
    • 50 Nathan Rabin
    An egregiously miscast Eisenberg stars as a young man toiling as a pizza boy, even though he displays only slightly less intelligence and savvy than the world-beater Eisenberg played in "The Social Network."
    • 46 Metascore
    • 50 Nathan Rabin
    A tepid variation on the rash of cartoonishly drawn Indian-Anglo culture-clash comedies afflicting both sides of the Atlantic.
    • 44 Metascore
    • 50 Nathan Rabin
    Henry Poole cycles through so many indie film clichés--that it continually skirts self-parody.
    • 47 Metascore
    • 50 Nathan Rabin
    The only folks Montana is interested in pleasing are prepubescent girls and Disney stockholders.
    • 29 Metascore
    • 50 Nathan Rabin
    It isn’t good by any stretch of the imagination, but B-movie lovers who like their dance movies flashy, fun, and spectacularly dumb shouldn’t mind.
    • 48 Metascore
    • 50 Nathan Rabin
    Flirts bravely, though gratingly, with messy, complicated emotions before ultimately drowning them in a warm bath of sticky sentimentality.
    • 43 Metascore
    • 50 Nathan Rabin
    The film is too busy hurling its cast from one labored slapstick setpiece to another to loosen up and allow them to have fun or be spontaneous.
    • 34 Metascore
    • 50 Nathan Rabin
    How is an action movie that aims for kinetic thrills supposed to develop any forward momentum when it spends so much time looking back?
    • 62 Metascore
    • 50 Nathan Rabin
    In making The Matrix's leaden answer to "The Phantom Menace," the Wachowski brothers seem to be afflicted with George Lucas Syndrome: They're so enthralled by the convoluted mythology of their own private universe that they've lost touch with its human core.
    • 46 Metascore
    • 50 Nathan Rabin
    The ethnicity of its leads is the only novel aspect of an otherwise bland exercise.

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