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
    • 58 Metascore
    • 70 Nathan Rabin
    Besson doesn't need dialogue to convey his worlds' nuances, because there are none, especially in Unleashed, which achieves such a sustained pitch of hysteria that it makes past masters of melodrama like Douglas Sirk, John Woo, and Sam Fuller look positively austere by comparison.
    • 73 Metascore
    • 70 Nathan Rabin
    The always-dependable and chameleon-like Craig has the chops and substance for that kind of film, but Vaughn prefers to keep matters brisk and superficial.
    • 70 Metascore
    • 70 Nathan Rabin
    Pure loses a bit of its nerve in the home stretch, but Eden's unforgettable performance alone makes it a compelling portrait of a smart young boy forced to grow up way too fast.
    • 74 Metascore
    • 70 Nathan Rabin
    Rize eventually gets a little preachy and sentimental, but a little sermonizing seems a small price to pay for such an industrial jolt of kinetic electricity.
    • 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.
    • 80 Metascore
    • 70 Nathan Rabin
    Thankfully, it boasts a story that doesn't require a surplus of style to be compelling.
    • 52 Metascore
    • 70 Nathan Rabin
    Dorian Blues covers extremely familiar territory, but does so with low-key wit and ingratiating charm.
    • 80 Metascore
    • 70 Nathan Rabin
    Where "Quiz Show" elevated its story to the level of Shakespearean tragedy, Clooney's film is too lightweight to reach such tragic heights. In part, it's too short--at 90 minutes, including musical interludes and lengthy monologues taken whole-cloth from the historical record, Good Night breezes by effortlessly when it really needs time and space to build up to appropriately epic dimensions.
    • 66 Metascore
    • 70 Nathan Rabin
    It's an emotionally chilly movie with a blank, inexpressive protagonist, but it gains cumulative force en route to a viscerally moving climax.
    • 62 Metascore
    • 70 Nathan Rabin
    "Hilary And Jackie" director Anand Tucker establishes and maintains an appropriately delicate tone, apart from the presence of cartoonish, jarring man-eater Bridgette Wilson, who seems to have wandered in from a much cruder comedy.
    • 72 Metascore
    • 70 Nathan Rabin
    Unexpectedly heartwarming documentary.
    • 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.
    • 51 Metascore
    • 70 Nathan Rabin
    Entertainingly captures the camaraderie and spirit of competition among the affable boarders as they battle nature in the form of imposing mountains, regular avalanches, and jagged rock formations.
    • 65 Metascore
    • 70 Nathan Rabin
    The Matador is brilliantly cast right down to the secondary supporting roles, played by the formidable likes of Dylan Baker and Philip Baker Hall, but it's the leads who really deliver.
    • 68 Metascore
    • 70 Nathan Rabin
    Hopkins delivers such a warm, winning performance that it's hard not to be won over by his loopy charm and monomaniacal passion. The film is about a man whose need for speed takes on an existential and spiritual dimension, but it's precisely its rambling, meandering, unhurried affability that makes it such a low-key pleasure.
    • 52 Metascore
    • 70 Nathan Rabin
    The result is largely a giddy, goofy delight.
    • 54 Metascore
    • 70 Nathan Rabin
    Wolf Creek is the kind of well-executed sleazefest that makes audiences feel not just creeped-out but downright dirty, as if it would take a three-hour-long shower just to wash all the grit and grease away.
    • 56 Metascore
    • 70 Nathan Rabin
    After an unpromising beginning, Iceberg Slim develops into a thorny, engaging exploration of the strange twilight and late-in-life fame of a bona fide American outlaw.
    • 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.
    • 51 Metascore
    • 70 Nathan Rabin
    Lovelace finds a fresh take on familiar material, but the film is also distinguished by its focus and intensity.
    • 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.
    • 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.
    • 61 Metascore
    • 70 Nathan Rabin
    The Inevitable Defeat Of Mister & Pete is a raw, often moving coming-of-age story.
    • 55 Metascore
    • 70 Nathan Rabin
    It’s compelling throughout, and profoundly moving at times, even when it rings false, which is often. It’s a divisive, shadowy conversation-starter of a movie that’s as much fun to talk and think about as it is to watch.
    • 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
    Weekend Of A Champion is an immersive chronicle of a specific time and place in racing, but it’s also a film in a familiar Polanski mode, exploring a strong man at war with forces that could destroy him.
    • 69 Metascore
    • 70 Nathan Rabin
    The film executes its bad-taste gags with such delicacy and unexpected emotional truth that they don’t even seem like jokes. This is attributable largely to Hollyman’s fearless, convincing lead performance, which grounds the movie in a believable reality, no matter how crazy things become.

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