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 Eyes Wide Shut
Lowest review score: 0 I Hate Valentine's Day
Score distribution:
1,068 movie reviews
    • 65 Metascore
    • 67 Nathan Rabin
    By this point, the rhythms of Smith's dialogue are as predictable and mannered as haikus, and like sitcoms, Clerks II is mostly appealing in its familiarity, from the rat-a-tat cussing to the cameos from Smith's repertory company to the extended riffing on "Star Wars" and geek culture.
    • 62 Metascore
    • 67 Nathan Rabin
    Like Affleck's performance, Hollywoodland has its affecting moments. But generally it feels like an HBO original movie, where respectable but uninspired execution mars a fascinating subject and great cast.
    • 45 Metascore
    • 67 Nathan Rabin
    While there are moments throughout when the film looks primed to break out of the indie arthouse ghetto, it never quite pulls it off.
    • 52 Metascore
    • 67 Nathan Rabin
    Delivers a steady stream of cheap B-movie thrills, plus two positive messages for young people: Be nice to animals, and when in doubt, always aim for the tendons.
    • 49 Metascore
    • 67 Nathan Rabin
    The film ends with Franken contemplating a run for U.S. Senate, but it's clear that his political campaign began long ago.
    • 58 Metascore
    • 67 Nathan Rabin
    The Bridge packs a visceral emotional wallop. How could it not? But along with plenty of difficult questions, Steel's film leaves a sour, disturbing aftertaste.
    • 54 Metascore
    • 67 Nathan Rabin
    Freeman is clearly enjoying himself, but his charisma and heavyweight presence can't quite redeem this featherweight concoction.
    • 50 Metascore
    • 67 Nathan Rabin
    Crudup delivers a bracing, uncompromising performance, but it's unmistakably a solo turn in a romantic comedy that's supposed to be about the blurring of egos and the fusing of two idiosyncratic voices into a single harmonious duet.
    • 56 Metascore
    • 67 Nathan Rabin
    For much of its duration, December is poignantly bittersweet, but the closing sugar rush washes its pleasing ambiguities away.
    • 63 Metascore
    • 67 Nathan Rabin
    Well-acted yet strangely inert, Fire explores the messy human emotions of grief, but it'd be a lot more resonant if the guy everyone's mourning weren't so fatally perfect, so unforgivably superhuman.
    • 54 Metascore
    • 67 Nathan Rabin
    It's good to have Seinfeld back, even in this watered-down form.
    • 63 Metascore
    • 67 Nathan Rabin
    "Christmas" won't wow anyone with its audacity or originality, but it's bound to make plenty of people happy with its slick, crowd-pleasing familiarity.
    • 69 Metascore
    • 67 Nathan Rabin
    Nichols succeeds in spinning an entertaining yarn, but the cautionary aspects feel fatally undernourished.
    • 48 Metascore
    • 67 Nathan Rabin
    It's a measure of the film's infectious goofiness that Cage seems altogether more interested in clearing the name of a long-dead ancestor than in finding a city of gold.
    • 63 Metascore
    • 67 Nathan Rabin
    City Of Men has its share of problems, but being too entertaining isn't one of them.
    • 51 Metascore
    • 67 Nathan Rabin
    It's a sweet, human movie, if not an entirely successful one.
    • 51 Metascore
    • 67 Nathan Rabin
    It's amusing but facile, reasonably clever but hopelessly glib.
    • 31 Metascore
    • 67 Nathan Rabin
    Dragon Emperor succeeds largely through sheer excess: It's doubtful that any idea was thrown out for being too implausible.
    • 53 Metascore
    • 67 Nathan Rabin
    Like its lead characters, Lucky is wounded, lost, and impractical, but it has a messy, winning humanity and an agreeably leisurely pace that almost redeems it.
    • 76 Metascore
    • 67 Nathan Rabin
    It's a huge improvement over the Attenborough film; given the film’s non-fiction roots, it seems poetically apt that a documentary take is much more satisfying and engaging than the Hollywood treatment.
    • 83 Metascore
    • 67 Nathan Rabin
    Tyson can be brutal with himself, but Toback's fawning documentary lets him off easy.
    • 55 Metascore
    • 67 Nathan Rabin
    If ever a film needed a double shot of espresso and a swift kick in the caboose, it's this one. At best, the film is hypnotic; at worst, it challenges--no, dares--audiences not to fall asleep.
    • 59 Metascore
    • 67 Nathan Rabin
    Love looks and sounds great, but in depicting N’Dour as a lofty symbol for music’s power to bridge worlds and inspire, it sometimes loses sight of the man.
    • 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.
    • 62 Metascore
    • 67 Nathan Rabin
    The film is essentially a skillful advertising-industry infomercial that speaks its subject’s slick aesthetic language.
    • 69 Metascore
    • 67 Nathan Rabin
    A fascinating, frustrating documentary.
    • 68 Metascore
    • 67 Nathan Rabin
    Paris flits from story to story and character to character without doing justice to any of them.
    • 55 Metascore
    • 67 Nathan Rabin
    With Bad, Perry is savvy enough to let riveting musical numbers by ringers like Gladys Knight and Mary J. Blige--along with Henson’s deeply empathetic performance--carry the film’s feverish emotions more than his characteristically ham-fisted screenplay.
    • 75 Metascore
    • 67 Nathan Rabin
    It’s a fascinating story, it doesn’t always make for a fascinating documentary.
    • 63 Metascore
    • 67 Nathan Rabin
    Arteta’s well-intentioned film version feels simultaneously overstuffed and undercooked.

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