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 Kill Bill: Vol. 2
Lowest review score: 0 Epic Movie
Score distribution:
1,068 movie reviews
    • 74 Metascore
    • 50 Nathan Rabin
    Genesis offers a feast for the senses, but before long, sensory overload sets in and the film becomes something of a chore. Who knew the universe could be this dull?
    • 41 Metascore
    • 50 Nathan Rabin
    The middling new Milwaukee, Minnesota, on the other hand, qualifies as 100 percent faux-noir. It recycles much from classic thrillers but has little to add.
    • 36 Metascore
    • 50 Nathan Rabin
    It'd be tempting to accuse Rebound of neutering Lawrence, but the sad fact is that Martin Lawrence doesn't have a whole lot of comic genius to betray.
    • 62 Metascore
    • 50 Nathan Rabin
    An affable, breezy, but undistinguished kiddie comedy.
    • 48 Metascore
    • 50 Nathan Rabin
    A lumbering, disappointingly bland war movie.
    • 51 Metascore
    • 50 Nathan Rabin
    The Brothers Grimm reeks of compromise, of a brilliant fantasist losing his footing and nerve and getting hopelessly gummed up in the cruel machinery of big-budget blockbuster filmmaking.
    • 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.
    • 73 Metascore
    • 50 Nathan Rabin
    Initially, the film comes off as a poor man's "Memento," but it gradually becomes apparent that it's only really interested in its protagonist's Alzheimer's as a cheap plot point to be manipulated or discarded as the filmmakers see fit.
    • 55 Metascore
    • 50 Nathan Rabin
    It loses its superficial charm during a labored third act that gets bogged down in tired, groan-inducing subplots.
    • 48 Metascore
    • 50 Nathan Rabin
    Flirts bravely, though gratingly, with messy, complicated emotions before ultimately drowning them in a warm bath of sticky sentimentality.
    • 60 Metascore
    • 50 Nathan Rabin
    Muddled, painfully earnest documentary.
    • 47 Metascore
    • 50 Nathan Rabin
    Feels like a half-hearted shrug of a sequel, an attempt to put a lucrative franchise on life support.
    • 45 Metascore
    • 50 Nathan Rabin
    Parts of Get Rich Or Die Tryin' crackle with energy, vitality, and texture, like the prison-shower fight that descends into a weird sort of slapstick farce. But 50's leaden turn drags the film down. Scenes celebrating his personal and professional triumph ring hollow, since Rich never really gets under his skin.
    • 31 Metascore
    • 50 Nathan Rabin
    All Usher fans really seem to want out of a movie like this is an opportunity to ogle their idol for an hour and a half. And that's all this movie affords them.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 50 Nathan Rabin
    Richard Wenk's familiar screenplay laboriously establishes Willis as an exhausted, limping shell of a man rotting internally from decades of alcoholism and self-hatred. Yet whenever the film requires it, Willis magically morphs into a super-cop with the lightning-fast reflexes of an 18-year-old Navy SEAL.
    • 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.
    • 41 Metascore
    • 50 Nathan Rabin
    For all its gender-bending, La Mujer De Mi Hermano's primary appeal is Mori's stunning beauty.
    • 37 Metascore
    • 50 Nathan Rabin
    Two Kitties marks a considerable improvement over its predecessor. It's faster paced and the filmmakers wisely shift the focus away from bland owner Breckin Meyer and onto a menagerie of chattering animals.
    • 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.
    • 41 Metascore
    • 50 Nathan Rabin
    Revenge movies often end with the message that vengeance is empty and futile, but it's never encouraging when revenge seems pointless from the start.
    • 55 Metascore
    • 50 Nathan Rabin
    Idlewild boasts too much personality around the edges--especially in Terrence Howard and Macy Gray's scene-stealing turns--and not enough at its center. It's a vehicle for OutKast's music and personality in which the music and lead roles feel like afterthoughts.
    • 59 Metascore
    • 50 Nathan Rabin
    Aspires to the sublime, but it stalls at the merely ridiculous.
    • 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.
    • 57 Metascore
    • 50 Nathan Rabin
    "Potter" periodically brings Zellweger's charming drawings to life in elegantly animated sequences that are as delightful and lyrical as the rest of the film is stilted and clumsy.
    • 49 Metascore
    • 50 Nathan Rabin
    While its look at interclass romance among African-Americans and the struggles of a working-class single father is fresh and vital, the heavy-handed execution isn't.

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