For 1,093 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 10.3 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Beats Rhymes & Life: The Travels of a Tribe Called Quest
Lowest review score: 0 School Dance
Score distribution:
1093 movie reviews
    • 67 Metascore
    • 75 Nathan Rabin
    Skips right past depressing on its way to apocalyptic.
    • 67 Metascore
    • 67 Nathan Rabin
    The emotions of soul music are irresistibly universal. The same is true of soul-music clichés. Based on a true story, The Sapphires tells the tale of four ambitious young Aboriginal girls from Australia who come of age performing before American serviceman in 1968 Vietnam. And yet the film is afflicted by a curious lack of cultural specificity.
    • 67 Metascore
    • 70 Nathan Rabin
    With dialogue as spare as its harsh landscapes, the film is so tonally dry that it makes Aki Kaurismäki look like the Farrelly brothers--it begins at a snail's pace before speeding up to a turtle's drowsy crawl.
    • 67 Metascore
    • 75 Nathan Rabin
    Though it grows silly and sentimental, Funeral scores enough big laughs to make its shortcomings eminently forgivable.
    • 67 Metascore
    • 58 Nathan Rabin
    By recounting Abbas' ordeal as an endless inarticulate monologue, The Prisoner reduces it to a dull anecdote--timely and relevant, perhaps, but an anecdote all the same.
    • 67 Metascore
    • 50 Nathan Rabin
    A voyeuristic look at voyeurs, Cinemania never seems sure whether it's a comedy or a tragedy. Instead, the film just seems intent on depicting its subjects as lovable kooks, a reductive portrayal that does little to acknowledge the desperation and loneliness that permeates every frame.
    • 67 Metascore
    • 75 Nathan Rabin
    Carlos Cuaron's otherwise terrific new comedy Rudo Y Cursi barely survives its third-act "Goodfellas" descent into seedy coke-and-crime drama.
    • 67 Metascore
    • 58 Nathan Rabin
    At best, it angrily demands to be rechristened This Is It! Too often, however, an incredulous This Is It? seems more apt.
    • 67 Metascore
    • 83 Nathan Rabin
    Workingman's Death's primary pleasures are aesthetic. Glawogger is an extraordinarily elegant filmmaker with a photographer's eye for striking compositions.
    • 67 Metascore
    • 67 Nathan Rabin
    Though The Eclipse travels a sleepy route to a shrug of anticlimax, it’s refreshing to see a film acknowledge that life and love don’t end at 50, even in the outsized shadow of a soulmate’s death.
    • 66 Metascore
    • 60 Nathan Rabin
    Doesn't pretend to be objective, and the film derives much of its power from the way it invites audiences to look at the rapper's life and times through his own soulful, animated eyes. It doesn't always succeed, and there are times when it feels terribly strained.
    • 66 Metascore
    • 50 Nathan Rabin
    Only when it wraps up all its loose ends with a feel-good sitcom conclusion does it finally reveal itself: It's an interesting failure rendered all the more disappointing for veering so close to success.
    • 66 Metascore
    • 70 Nathan Rabin
    T3, while far from a classic, is an overachieving, mercenary sequel that's short on thrills, but surprisingly long on laughs and surprises.
    • 66 Metascore
    • 58 Nathan Rabin
    As in the more successful "Land Of The Dead," Romero makes an admirable attempt to update his beloved franchise for contemporary audiences. But this time out, his heavy-handed intellectual concerns get in the way of a perfectly good fright flick.
    • 66 Metascore
    • 67 Nathan Rabin
    In its superior first half, Yossi sustains a mood of wistful longing and inexorable loneliness as its directionless protagonist lumbers through a grey, joyless existence, but the film threatens to turn into a gay Israeli version of "How Stella Got Her Groove Back" once Knoller finds his impossibly gorgeous, persistent dream man.
    • 66 Metascore
    • 70 Nathan Rabin
    Film doesn’t suit Alan Partridge as well as other media, but Coogan and company have nevertheless delivered a consistently lively satirical comedy that would stand on its own merits, even if it wasn’t weighed down by expectations more than 20 years in the making.
    • 66 Metascore
    • 50 Nathan Rabin
    Kinnear's mesmerizing performance comes close to redeeming Auto Focus, suggesting depths the film never gets around to exposing, but Schrader's alternately flat and histrionic storytelling sends the film hurtling beyond redemption.
    • 66 Metascore
    • 75 Nathan Rabin
    Boogie Man doesn't delve too deep into its subject's private life, beyond some cheap psychology positing his brother's horrible early death as the root of his winner-takes-all philosophy. But then, Atwater's work was his life.
    • 66 Metascore
    • 91 Nathan Rabin
    There's a good chance that Judge's smartly lowbrow Idiocracy will be mistaken for what it's satirizing, but good satire always runs the risk -- of being misunderestimated.
    • 66 Metascore
    • 75 Nathan Rabin
    As befits a heartfelt ode to working-class values, Diggers puts in lots of hard, honest work that finally pays off in a wholly predictable yet unexpectedly moving conclusion.
    • 66 Metascore
    • 70 Nathan Rabin
    Like the rest of the film, Beckham's climax is surprisingly satisfying, however, in large part because director Gurinder Chadha films the competing big game and big fat Indian wedding of Nagra's sister with equivalently bursting levels of color, panache, and verve.
    • 66 Metascore
    • 75 Nathan Rabin
    Project provides an unmistakably one-sided view of rap as God's gift to the poor, angry, black, and young, but given the beating rap has taken in the press lately (please Oprah, don't hurt 'em!), the film's pro-rap cheerleading couldn't be more timely or necessary.
    • 66 Metascore
    • 42 Nathan Rabin
    For all its florid pretensions and epic length, the film's overwrought take on its subject's not-so-rosy life leaves behind no lasting insight.
    • 66 Metascore
    • 40 Nathan Rabin
    Instead of committing wholeheartedly to telling the story of a single family, Daniels gets distracted trying to tell the story of our nation’s complicated racial history.
    • 66 Metascore
    • 70 Nathan Rabin
    Ice Cube serves as the film's solid moral center, with a dizzying variety of supporting characters in his orbit. A refreshingly class-conscious comedy-drama that refuses to talk down to its audience, Barbershop tackles serious issues.
    • 66 Metascore
    • 75 Nathan Rabin
    Well-acted and artfully (though conventionally) made, The Way Back tells a compelling story, regardless of whether it's based on truth or a fabrication.
    • 66 Metascore
    • 67 Nathan Rabin
    Throughout its first two acts, Bandslam is charming, sweet, and funny enough to merit inclusion in the upper echelon of teen comedies. Then comes a third act weighed down with arbitrary romantic conflicts, leaden melodrama, and a tiresome subplot.
    • 65 Metascore
    • 70 Nathan Rabin
    The story told by e-dreams is inherently compelling, full of dark humor drawn from a deep well of hubris and historical irony, but the film would be a lot sharper had the filmmakers not fallen under Park's charismatic cyber-spell.
    • 65 Metascore
    • 58 Nathan Rabin
    It takes more than just the ominous tread of Nazi boots to infuse gravitas into this well-intentioned but dreary look at the female mind and body during wartime.
    • 65 Metascore
    • 83 Nathan Rabin
    Sometimes feels like an all-time classic short film stretched to feature length, but it’s blissfully short, and it peaks at the end with a groovy cartoon during the closing credits.

Top Trailers