For 1,070 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 9.1 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 The Lost Boys
Lowest review score: 0 Monster-in-Law
Score distribution:
1070 movie reviews
    • 31 Metascore
    • 50 Nathan Rabin
    Pretty but overwrought, Hounddog doesn't deserve its infamy, nor does it merit being seen or remembered.
    • 51 Metascore
    • 50 Nathan Rabin
    That's ultimately the film's fatal flaw: it bumps Showalter's Baxter up to the role of the romantic lead without giving him an equivalent increase in complexity or depth.
    • 46 Metascore
    • 50 Nathan Rabin
    With Glenn offscreen for huge sections of the film, Mercy devolves into yet another navel-gazing drama about a glib cad redeemed by the love of a good woman.
    • 48 Metascore
    • 50 Nathan Rabin
    Dull and sappy, though anyone who finds Sandler dreamy should love it.
    • 31 Metascore
    • 50 Nathan Rabin
    Thanks to Sandler, Barrymore, and South Africa’s natural beauty, Blended is far more palatable and bearable than it has any right to be; it’s fluff that rises to the level of innocuous disposability.
    • 62 Metascore
    • 50 Nathan Rabin
    Stays unrelentingly pleasant, but affability is a poor substitute for laughs or chemistry.
    • 47 Metascore
    • 50 Nathan Rabin
    So how can a project that began with such promise end up such a slick, pandering misfire? The answer, unsurprisingly, has a lot to do with Jim Carrey.
    • 76 Metascore
    • 50 Nathan Rabin
    By giving Taylor the last word, Dig! becomes little more than a self-serving, unconvincing infomercial for a musician who comes across as functional and bearable only when compared to his counterpart.
    • 45 Metascore
    • 50 Nathan Rabin
    Prototypical summer-movie fare, designed to be consumed, enjoyed, and forgotten all at once.
    • 65 Metascore
    • 50 Nathan Rabin
    Ivory Tower asks a lot of provocative, important questions, but it’s decidedly short on answers, and even shorter on satisfying or convincing answers.
    • 73 Metascore
    • 50 Nathan Rabin
    Efron has yet to learn that smiling pretty is merely a component of acting, not its entirety. He makes for a supremely passive lead whose chemistry with Danes is nonexistent.
    • 43 Metascore
    • 50 Nathan Rabin
    A mushy-headed, unintentionally funny inspirational drama that plays like a clumsy attempt to crossbreed "The Shawshank Redemption" and "One Flew Over The Cuckoo's Nest."
    • 18 Metascore
    • 50 Nathan Rabin
    Has an agreeable air of anything-goes vulgarity, which is so transcendentally idiotic that it's impossible to tell whether the film is a brilliant, deadpan parody of raunchy lowbrow farces from the '70s and '80s, or one of the stupidest, most regressive films ever made. Or, more likely, it's a little of both.
    • 57 Metascore
    • 50 Nathan Rabin
    Catching Out could stand to be half an hour longer, which speaks to both its scruffy charm and its frustrating inability to dig beneath the surface.
    • 54 Metascore
    • 50 Nathan Rabin
    It's a clammy, odd duck of a movie, a black comedy that seems strangely content with merely being morbid.
    • 60 Metascore
    • 50 Nathan Rabin
    Like Ribisi and Macht's miniature porn empire, Gallo's mildly diverting but overstuffed, underdeveloped opus could use the cinematic equivalent of a fix-it man like Wilson's character to transform its frenetic jumble of subplots and sleazy characters into a cohesive, satisfying whole.
    • 71 Metascore
    • 50 Nathan Rabin
    Gulpilil, a solid cast, and gorgeous scenery keep The Tracker watchable, but they can't mask the fact that as an adventure, it's sluggish, and as a film about racism, it's often reductive and clumsy.
    • 54 Metascore
    • 50 Nathan Rabin
    Not even amusing cameos from Bill Murray as a freeloading producer and Michael McKean as a proctologist can keep With Friends Like These... from being as minor as the film careers of its two-bit protagonists.
    • 56 Metascore
    • 50 Nathan Rabin
    Best known for "Notting Hill," Ifans remains a charming actor, but even his fine work can't get this lead zeppelin off the ground.
    • 71 Metascore
    • 50 Nathan Rabin
    Broomfield's documentaries present life on the fringes as one long, sick joke. The joke still works, but in Life And Death Of A Serial Killer, it leaves a bitter aftertaste.
    • 54 Metascore
    • 50 Nathan Rabin
    Retains every hooky, marketable, and superficially attractive element from its source material while losing everything that made it special.
    • 25 Metascore
    • 50 Nathan Rabin
    A film that grows less compelling and original by the minute, R.I.P.D. serves due notice that the mismatched-buddy-cop movie is wearing out its welcome all over again.
    • 35 Metascore
    • 50 Nathan Rabin
    Takes too long to get going to qualify unequivocally as a good movie, but when Jovovich finally starts kicking zombified ass, it becomes good enough.
    • 41 Metascore
    • 50 Nathan Rabin
    The tone is mild, the setting is peaceful to the point of sleepiness, and the stakes are incredibly low, even with the heart-tugging central presence of an adorable animal in danger.
    • 51 Metascore
    • 50 Nathan Rabin
    A supremely unhurried filmmaker, Duvall lets the story meander sleepily en route to a conclusion as ho-hum as everything preceding it.
    • 49 Metascore
    • 50 Nathan Rabin
    Sneaks in the occasional child-molestation or bestiality joke, but otherwise seems content to cannibalize the broad slapstick of Zucker's halcyon days with Jerry Zucker and Jim Abrahams.
    • 52 Metascore
    • 50 Nathan Rabin
    White House Down is never more than a sliver away from gleeful self-parody. It’s pure patriotic kitsch, the cinematic equivalent of a black-velvet painting of a bald eagle clutching an American flag in its talons as it soars majestically over Mount Rushmore.
    • 31 Metascore
    • 50 Nathan Rabin
    If Your Highness often feels like an inside joke, the principals neglected to let the audience in on the fun.
    • 71 Metascore
    • 50 Nathan Rabin
    Given the duo’s withering take on capitalism, it’s ironic that their stumbling second feature feels throughout like an infomercial for a shtick whose expiration date is rapidly approaching.
    • 47 Metascore
    • 50 Nathan Rabin
    Nothing about Hey Arnold! The Movie cries out for the big-screen treatment, but it at least makes the transition from television to film with its charm intact.

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