For 1,067 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 8.3 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Catch Me If You Can
Lowest review score: 0 Epic Movie
Score distribution:
1,067 movie reviews
    • 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.
    • 52 Metascore
    • 75 Nathan Rabin
    Like "Hustle & Flow," Moan succeeds on languid atmosphere and the conviction of its leads. But it'd be nice if the execution matched the startling audacity of its premise.
    • 58 Metascore
    • 75 Nathan Rabin
    In a stunning lead performance, Goldblum stars as a brilliant, apolitical jester.
    • 68 Metascore
    • 75 Nathan Rabin
    Few actors are as riveting doing absolutely nothing, and The Place Beyond The Pines perfectly typecasts Gosling as a noir staple: the decent but rudderless drifter driven to violent and desperate action.
    • 57 Metascore
    • 75 Nathan Rabin
    Lives and dies on the strength of individual gags, most of which are clever, but none of which quite make up for the absence of a strong narrative drive. Sometimes being funny isn't enough.
    • 36 Metascore
    • 75 Nathan Rabin
    It isn't gangsta, but it's winning all the same.
    • 71 Metascore
    • 75 Nathan Rabin
    Director Craig McCall approaches Cardiff with something approaching awe, though his subject views his accomplishments with the good-natured humility befitting a proper English gentleman.
    • 62 Metascore
    • 75 Nathan Rabin
    Ted
    Ted is never stronger than when Wahlberg and MacFarlane's Ted hang out, riff, and luxuriate in an easy friendship, but as it lurches to a conclusion, Ted unwisely devotes far too much of its time to a plot it would be better off ignoring.
    • 47 Metascore
    • 75 Nathan Rabin
    Teacher underutilizes a smartly cast-against-type Timberlake and the perpetually winning Segel, but Diaz ultimately earns a rooting interest in the unlikely redemption of her scheming opportunist.
    • 65 Metascore
    • 75 Nathan Rabin
    Where "Crash" relentlessly pushed every conflict to a fever pitch, Elah takes its cues from Tommy Lee Jones' low-simmering lead performance.
    • 62 Metascore
    • 75 Nathan Rabin
    While the film's social-satire elements are flat and overly familiar, its dry absurdity is unmistakably Lynchian.
    • 72 Metascore
    • 75 Nathan Rabin
    Quinceañera sketches its characters and conflicts with warmth and empathy.
    • 58 Metascore
    • 75 Nathan Rabin
    Ember is seldom riveting, but it's consistently compelling, and its uncompromising literal and metaphorical darkness renders its climax enormously satisfying.
    • 45 Metascore
    • 75 Nathan Rabin
    Delivers pretty much exactly what its audience wants and expects: big, dumb, campy fun so deliriously, comically macho, it's remarkable that no one in the cast died of testosterone poisoning.
    • 44 Metascore
    • 75 Nathan Rabin
    Never as edgy as it imagines itself to be. Bangkok may swallow innocents whole, but director Todd Phillips has a lucrative franchise to protect, so the film's flirtation with the comic abyss gets compromised into something that looks more like a rock-solid mainstream comedy with a prominent dark side.
    • 58 Metascore
    • 70 Nathan Rabin
    A good cast, terrific soundtrack, and genial spirit all help the film go down smoothly.
    • 62 Metascore
    • 70 Nathan Rabin
    Bad Milo! gets nasty laughs out of putting its overmatched hero through a gauntlet of comic humiliations, but it works just as well as a dark allegory about the way we handle our demons.
    • 41 Metascore
    • 70 Nathan Rabin
    It’s modest, scrappy, and resourceful, a low-budget comedy that makes the most of a central setting and a cast packed with gifted improvisers.
    • 75 Metascore
    • 70 Nathan Rabin
    There's a tight, urgent, and timely film hidden inside Shot In The Heart, but it's not always worth forging through all the gratuitous bells and whistles to find it.
    • 72 Metascore
    • 70 Nathan Rabin
    A surprisingly fresh and funny feature-length look at an unrelentingly filthy vaudeville gag that's been passed down from comic to comic like an urban legend, often changing with every telling.
    • 71 Metascore
    • 70 Nathan Rabin
    Strongman is a heartrending character study of a man blessed with superhuman strength, but defeated and overwhelmed by the everyday bullshit of life.
    • 63 Metascore
    • 70 Nathan Rabin
    Faithfully recreates a bygone era of larger-than-life filmmakers and stars.
    • 64 Metascore
    • 70 Nathan Rabin
    An unforgettable tribute to a remarkable life, Sister Helen is inspirational in a way a film about a more conventionally pious religious figure could never be. Travis seems to be the antithesis of a cardboard saint.
    • 72 Metascore
    • 70 Nathan Rabin
    It isn’t a terribly intimate portrait of Haldeman, Ehrlichman, Chapin, or Nixon, but it is revealing in its own right, as a fascinatingly warped and aged Polaroid of an epic life that’s grown more compelling with the passage of time.
    • 61 Metascore
    • 70 Nathan Rabin
    The Inevitable Defeat Of Mister & Pete is a raw, often moving coming-of-age story.
    • 72 Metascore
    • 70 Nathan Rabin
    Time Is Illmatic is a documentary worthy of its subject. It’s no masterpiece, but it’s a strong, substantive look at an album whose greatness was apparent immediately, but that’s still grown in stature since its release.
    • 90 Metascore
    • 70 Nathan Rabin
    Thankfully, Big Men doesn’t have heroes or villains. It’s a deep dive into an endless pool of moral and political ambiguity in which very little is clear-cut, except that the desire for wealth and power.
    • 87 Metascore
    • 70 Nathan Rabin
    Grim but never gratuitous.
    • 69 Metascore
    • 70 Nathan Rabin
    Bellocchio's film, which enlivens the grim realities of months in a stuffy apartment with striking bursts of lyricism, is often a powerful cautionary tale about the dangers of becoming a slave to ideology.

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