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 8.5 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 I Hate Valentine's Day
Score distribution:
1,068 movie reviews
    • 78 Metascore
    • 50 Nathan Rabin
    Gandolfini delivers a funny, poignant performance befitting a great actor. It’s heartbreaking that the film doesn’t measure up to his exemplary turn.
    • 77 Metascore
    • 60 Nathan Rabin
    Makes a terrific case for the group's historical importance, even though its performances seem more fun to discuss than watch.
    • 77 Metascore
    • 50 Nathan Rabin
    Goes to great lengths to show the man-child behind the barfly, but in its rush to deify its subject, it lacks critical voices and context.
    • 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.
    • 75 Metascore
    • 58 Nathan Rabin
    There's a wealth of great material here, especially a shattering performance of Coldplay's "Fix You" by a soulful mountain of a man named Fred Knittle.
    • 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.
    • 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?
    • 73 Metascore
    • 60 Nathan Rabin
    Like his makeshift societies, Garland's tantalizing set-ups tend to unravel in unsatisfying ways.
    • 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.
    • 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.
    • 73 Metascore
    • 60 Nathan Rabin
    Without a unifying authorial voice to tie it together, the film often feels shapeless and rambling, brought together by little more than free-ranging contempt for capitalism's excesses.
    • 73 Metascore
    • 50 Nathan Rabin
    Ray
    As Ray nears its abrupt ending, it veers into camp silliness, complete with a psychedelic freak-out withdrawal sequence straight out of a Roger Corman LSD epic.
    • 72 Metascore
    • 60 Nathan Rabin
    There's a terrific short film somewhere inside Mark Moskowitz's feature-length documentary Stone Reader. Unfortunately, it's buried within a flabby 128-minute slog that feels like a rough draft nobody had the heart to edit down.
    • 72 Metascore
    • 60 Nathan Rabin
    The astonishing visual poetry of Step Into Liquid's best surfing footage nearly compensates for the mindless boosterism of Brown's constant narration and the often comically banal observations of the film's largely homogeneous master surfers.
    • 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.
    • 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.
    • 71 Metascore
    • 50 Nathan Rabin
    It deserves credit for avoiding the conventions of romantic comedies and defying audience expectations, but only to a degree. Instead of hitting the expected notes and beats, Drinking Buddies instead ambles sideways. It’s headed nowhere in particular, but at least the voyage is pleasant.
    • 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.
    • 70 Metascore
    • 60 Nathan Rabin
    A sprint when it should be a marathon, Yossi & Jagger crackles with promise, but much of it goes unrealized. Without the time or resources to develop its characters and overstuffed plot, the result feels like the Cliffs Notes for a longer, more satisfying film.
    • 70 Metascore
    • 60 Nathan Rabin
    Ushpizin's effortlessly authentic depiction of Jewish orthodoxy--and the palpable, almost ecstatic sense of joy its characters take in it--ultimately tips the film's hand.
    • 70 Metascore
    • 40 Nathan Rabin
    Consistently clever without ever being funny. The film is so in love with its own carefully calibrated outrageousness that it doesn't bother to give its characters any depth beyond sitcom-level stereotypes.
    • 69 Metascore
    • 58 Nathan Rabin
    The female lead in Duplicity calls for the kind of atomic, glow-in-the-dark, Rita Hayworth-in-Gilda sexuality that is most assuredly out of Roberts' range. Angelina Jolie effortlessly conjures up that kind of fire-breathing sexiness. Roberts? Not so much.
    • 69 Metascore
    • 58 Nathan Rabin
    It's regrettable that Joshua veers into outlandish "Omen/Bad Seed/Good Son" territory when the real terror lies much closer to home.
    • 69 Metascore
    • 50 Nathan Rabin
    Isn't a particularly well-assembled documentary, but the queasy, hypnotic power of its story and subjects makes its technical shortcomings forgivable.
    • 69 Metascore
    • 58 Nathan Rabin
    In a pressure-cooker environment, Pennebaker and Hegedus' moderately engaging but ultimately unsatisfying documentary feels disappointingly lukewarm.
    • 68 Metascore
    • 58 Nathan Rabin
    Gyllenhaal and Peña's relationship, a sort of heterosexual love affair, is depicted with a sense of tenderness and care that does not extend to the cartoonish villains that dominate the film's lackluster final act.
    • 68 Metascore
    • 60 Nathan Rabin
    During his clumsiest moments, Davis' fondness for provocation rises to the surface, which is unfortunate, since it weakens the impact of his many salient points about how American men are socialized to be warriors.
    • 68 Metascore
    • 50 Nathan Rabin
    An initially engaging but ultimately wearying combination of naturalistic acting, cinéma vérité camerawork, and broadly melodramatic plotting.
    • 67 Metascore
    • 40 Nathan Rabin
    Forster's movie doesn't want to grow up, but it doesn't seem to understand childhood, either. For a film about the life-affirming power of imagination, Finding Neverland displays precious little of its own.
    • 67 Metascore
    • 50 Nathan Rabin
    Well-intentioned and exceedingly nice, Watermarks aspires to warm the soul, but succeeds only in numbing the mind.

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