For 1,091 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 Baby Geniuses
Score distribution:
1091 movie reviews
    • 57 Metascore
    • 75 Nathan Rabin
    In the film's funniest scene, a coked-up Day rocks out to The Ting Tings' "That's Not My Name" in a car in a state of ecstatic frenzy.
    • 65 Metascore
    • 75 Nathan Rabin
    Madden's dark, moody, complex exploration of guilt and identity taps into a rich vein of moral ambiguity, but the filmmakers should know that in the face of unspeakable Nazi evil, the romantic problems of three little people don't amount to a hill of beans.
    • 46 Metascore
    • 75 Nathan Rabin
    The new Burke & Hare offers many pleasures, chief among them the return of the Landis of old.
    • 52 Metascore
    • 75 Nathan Rabin
    The Weird World Of Blowfly at times recalls "The Wrestler," only instead of schlepping his aging body from city to city to don outrageous costumes and wrestle, 69-year-old soul-music legend Clarence Reid schleps his hunched-over frame to gigs where he performs X-rated parodies and scatological ditties as incorrigible proto-hip-hopper Blowfly.
    • 57 Metascore
    • 75 Nathan Rabin
    As usual, Corben's style is caffeinated and a little rough around the edges, but he's a tenacious journalist, and his yen for sensationalism gives Limelight an irresistible tabloid pop.
    • 61 Metascore
    • 75 Nathan Rabin
    Kwapis fills small roles with great character actors like Stephen Root, Andrew Daly, Kathy Baker, Tim Blake Nelson, John Michael Higgins, Rob Riggle, and James LeGros, all skilled at making a lot out of a little.
    • 52 Metascore
    • 75 Nathan Rabin
    As with "Black Dynamite," many of Casa De Mi Padre's sharpest, most inspired gags riff on the source material's ingratiatingly amateurish production values and exuberantly incompetent stylistic choices.
    • 60 Metascore
    • 75 Nathan Rabin
    Jeff begins with its protagonist discussing a Hollywood movie and ends by embracing the worst excesses of commercial American filmmaking, but there are enough moments of magic and wonder in the interim to make it worthwhile.
    • 58 Metascore
    • 75 Nathan Rabin
    The film is largely redeemed by an unexpected emotional resonance befitting a Steven Spielberg production.
    • 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.
    • 71 Metascore
    • 75 Nathan Rabin
    As charming as it is winningly modest, but it's so incredibly slight a stiff wind would knock it into a different hemisphere.
    • 51 Metascore
    • 75 Nathan Rabin
    The Man With The Iron Fists has the same advantages of many musical debuts. It's the product of a man who has been storing up ideas, setpieces, characters, and gags for a lifetime, in preparation for the magic moment when he'd be able to unleash his full vision on the big screen.
    • 74 Metascore
    • 75 Nathan Rabin
    Starlet is an unusually subtle, quiet character study - especially given the potentially salacious subject matter - that builds to a quietly powerful climax.
    • 53 Metascore
    • 75 Nathan Rabin
    It's a mess, but its best moments are exhilarating, getting hopelessly lost in Pargin's surreal, completely disorienting world.
    • 72 Metascore
    • 75 Nathan Rabin
    The Bitter Buddha closes with Pepitone pondering whether he’s wasted his life by focusing on comedy rather than family, but everything that’s come before suggests that decision has led to a life that’s a triumph rather than a tragedy.
    • 48 Metascore
    • 75 Nathan Rabin
    Admission ultimately can’t quite figure out what kind of a film it wants to be, so like a lot of promising but unfocused contenders, it never quite lives up to its potential. But there’s value to be found in its meandering.
    • 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
    It’s A Disaster is lively and assured before a third-act twist takes the film in an even more bracingly bleak direction. The twist is one tonal shift too many, but the film otherwise manages to find the levity, as well as the pathos, in the prospect of total annihilation.
    • 79 Metascore
    • 75 Nathan Rabin
    The film never even attempts to peer behind the curtain of Jay’s colorful existence; it’s content that the show in front of it is spectacle enough. But Deceptive Practices would be a richer, deeper experience if the filmmakers had penetrated Jay’s fierce boundaries even a little.
    • 60 Metascore
    • 75 Nathan Rabin
    Day Of The Dead is more like Romero's scorching 1973 satire The Crazies, in which anarchy reigns and the very concept of heroes dissolves. The action at the end is lurid, made giddily disgusting by Tom Savini's amazing gore effects, and made gripping by Romero's gift for the cold logic of systemic breakdown. Still, some audiences may give up early, fed up with the shrill claustrophobia.
    • 55 Metascore
    • 75 Nathan Rabin
    There's something unnerving about the cult infamy of Mommie Dearest, a harrowing fact-based account of horrific child abuse that has developed a reputation as a camp giggle-fest of the so-bad-it's-good variety.
    • 58 Metascore
    • 70 Nathan Rabin
    A good cast, terrific soundtrack, and genial spirit all help the film go down smoothly.
    • 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.
    • 61 Metascore
    • 70 Nathan Rabin
    Fine lowbrow entertainment, a fast, funny pastiche of science-fiction, horror, and teen-movie archetypes that is, aside from the original Scream, perhaps the most entertaining, fully realized film of the current postmodern horror/sci-fi cycle.
    • 52 Metascore
    • 70 Nathan Rabin
    Everything "Blade" should have been but wasn't: stylish, fast-paced, and comfortable with its own ridiculousness.
    • 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.
    • 36 Metascore
    • 70 Nathan Rabin
    Jeepers Creepers aimed for the archetypal primal spookiness of a scary campfire tale, and halfway succeeded. Here, Salva makes it work virtually every step of the way.
    • 56 Metascore
    • 70 Nathan Rabin
    Sharply drawn and well-acted.
    • 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.
    • 42 Metascore
    • 70 Nathan Rabin
    Brody's Oscar victory and newfound star power might have secured Love The Hard Way its theatrical release, but his depth and charisma are what make the film haunting and surprisingly resonant.

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