For 2,058 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Last Waltz (re-release)
Lowest review score: 0 Final Destination 3
Score distribution:
2,058 movie reviews
    • 47 Metascore
    • 33 Peter Rainer
    Parker is bland throughout. Maybe all those episodes of "Sex and the City" have soured her on this sort of thing.
    • 45 Metascore
    • 33 Peter Rainer
    If, as the ads would lead you to believe, you go to see The Break-Up expecting a romantic comedy, you will be severely disappointed. If you go to it expecting a good movie, you will also be severely disappointed.
    • 61 Metascore
    • 33 Peter Rainer
    Its wasted cast includes Dyan Cannon, Sally Kellerman, Len Cariou, and Brenda Vaccaro, who miraculously manages to give a fine performance in this malarkey.
    • 51 Metascore
    • 33 Peter Rainer
    Just because The Fountain is different doesn't mean it's good. In fact, it's borderline unwatchable, though this hasn't prevented the Oscar buzz from buzzing.
    • 54 Metascore
    • 33 Peter Rainer
    The movie often seems glib in the face of tragedy. And when, near the end, Shepard tries to pour on the hearts and flowers by showing us just what made Simon crack up on camera, the bathos is icky. The whole movie is icky.
    • 56 Metascore
    • 33 Peter Rainer
    The end result, at best, is high-toned pulp.
    • 46 Metascore
    • 33 Peter Rainer
    Even by Farrelly standards, the film is a washout.
    • 42 Metascore
    • 33 Peter Rainer
    Few things are more dispiriting than a holiday movie straining to become a perennial. Such is the case with Fred Claus, an insipid Christmas comedy.
    • 38 Metascore
    • 33 Peter Rainer
    Poetic conceits only work if they're poetic.
    • 42 Metascore
    • 33 Peter Rainer
    The Bucket List is a movie for oldsters that, paradoxically, looks as if it was made for 15-year-olds. If this is what is meant in Hollywood as "thinking outside the box," then it's time to get a new box.
    • 41 Metascore
    • 33 Peter Rainer
    The best thing you can say about Mad Money is that it has a good cast. The worst thing you can say about it is that the cast is extremely ill-used.
    • 17 Metascore
    • 33 Peter Rainer
    This business of the 88 minutes ticking away is a pale imitation of the old "High Noon" ploy of playing out suspense in real time. After a while, though, I began to take a perverse pleasure in wallowing in the awfulness of it all.
    • 45 Metascore
    • 33 Peter Rainer
    Everywhere he goes he asks if anybody knows bin Laden's whereabouts – as if anybody is going to tell him! Why should we accompany him on his self-aggrandizing trip?
    • 36 Metascore
    • 33 Peter Rainer
    What Happens in Vegas is not only annoying, it's also incompetent – a bad mix.
    • 35 Metascore
    • 33 Peter Rainer
    The animated characters in "Clone Wars" are about as lively as the actors in the live-action movies, so I guess Lucas has achieved his goal of eliminating humans from his movies altogether.
    • 20 Metascore
    • 33 Peter Rainer
    I don't mind a movie where people spend a lot of time jawboning, but what they say had better be interesting. In Spinning into Butter we are spoon-fed the deep dark revelation that racism can exist as virulently in liberal environs as in reactionary ones. Alert the media.
    • 34 Metascore
    • 33 Peter Rainer
    I guarantee you, if Charles Dickens were alive today, he might well be writing movies but he sure as shootin' wouldn't have written "Ghosts."
    • 34 Metascore
    • 33 Peter Rainer
    The people who made Year One seem to think that all you have to do to make a hit comedy is get a bunch of jokesters together. But where are the jokes?
    • 32 Metascore
    • 33 Peter Rainer
    It's all so resolutely uninspired that even the kids in the audience may want to duck out.
    • 49 Metascore
    • 33 Peter Rainer
    Allegorical in the worst ways, Antichrist is about as profound as a slasher movie.
    • 66 Metascore
    • 33 Peter Rainer
    Critics who come out against Kick-Ass are leaving themselves open to that worst of contemporary accusations: a failure to be cool. But pretending that Kick-Ass is just another good-time comic book blowout is the greater failure.
    • 42 Metascore
    • 33 Peter Rainer
    Notable only for being a catalog of just about every kid-pic cliché ever committed to film.
    • 30 Metascore
    • 33 Peter Rainer
    A movie that at best is irrelevant and at worst is unwatchable.
    • 37 Metascore
    • 33 Peter Rainer
    Maybe Hackford, and his screenwriter Mark Jacobson, were attempting to convey the dullness of vice. If so, they vastly overcorrected. But what about the dullness of the performances?
    • 37 Metascore
    • 33 Peter Rainer
    To see Johnny Depp and Angelina Jolie in The Tourist is like watching a chemistry experiment gone horribly wrong.
    • 46 Metascore
    • 33 Peter Rainer
    The script by Allan Loeb careens all over the place without ever coming to rest on anything interesting.
    • 44 Metascore
    • 33 Peter Rainer
    It's as if the filmmakers were hungover from the first film and wanted to make a violent action movie instead.
    • 57 Metascore
    • 33 Peter Rainer
    The coarseness wouldn't be so bad if at least the steady stream of obscenities were funny.
    • 46 Metascore
    • 33 Peter Rainer
    Dislikable movie characters don't always result in dislikable movies but that's certainly the case with Sam Levinson's Another Happy Day, a dysfunctional family meltdown movie about an impending wedding that only grows more aggravating as it unwinds.
    • 39 Metascore
    • 33 Peter Rainer
    Sit this one out.
    • 41 Metascore
    • 33 Peter Rainer
    The script is replete with howlers. My favorite, from Kitsch, after the aliens strike: "I've got a bad feeling about this." Indeed.
    • 49 Metascore
    • 30 Peter Rainer
    The only reason to check out Big Bad Love is Debra Winger, last seen onscreen in 1995.
    • 38 Metascore
    • 30 Peter Rainer
    From the look of this film, its prime appreciators will be heavy-metal futurist dweebs.
    • 49 Metascore
    • 30 Peter Rainer
    Spacey is turning into another Robin Williams: Between this film and "Pay It Forward" he cops the prize for the Sappiest Performances by an Actor Previously Known to Have Great Talent.
    • 33 Metascore
    • 30 Peter Rainer
    A stinker.
    • 51 Metascore
    • 30 Peter Rainer
    The film's Russians are all played by French and Australian actors. Too bad Butterworth didn't find a Russian to play the Brit. That would have made the inauthenticity complete.
    • 53 Metascore
    • 30 Peter Rainer
    It's as if an obsessed movie nut had decided to collect every bad war-movie convention on one computer and program it to spit out a script.
    • 55 Metascore
    • 30 Peter Rainer
    There's less here than meets the eye or ear: We're a long way from Jonathan Swift, and any old episode of "Cops" is bound to be more engrossing, not to mention "real."
    • 49 Metascore
    • 30 Peter Rainer
    Gets points for oddness. Excellence is another matter.
    • 44 Metascore
    • 30 Peter Rainer
    The dance he (Wang) ended up with is on the wrong lap.
    • 41 Metascore
    • 30 Peter Rainer
    Sandler being Chaplinesque isn't pretty; he's just doing his smart-aleck slacker shtick with a moister eye.
    • 53 Metascore
    • 30 Peter Rainer
    O
    It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
    • 54 Metascore
    • 30 Peter Rainer
    The only note of authenticity in the movie comes from Ian Holm, playing the royal physician. What is this nuanced performance -- at least until the final fireworks -- doing in this twaddle?
    • 45 Metascore
    • 30 Peter Rainer
    Movie has been upstaged by the sum of our fears. The staunch heroics, frantic presidential huddles, and hairbreadth rescues all seem tinny and escapist, too Cold Warrior–ish, for what's really going on now.
    • 48 Metascore
    • 30 Peter Rainer
    I've never been sold on this anti-TV thesis. It's snooty. It assumes we in the audience have seen the light denied the lower orders. Invariably, the people in these movies who are rendered blotto by the tube are dingbat common folk. EDtv takes this notion to a new low.
    • 48 Metascore
    • 30 Peter Rainer
    The best way to kill the spirit of the sixties is to sanitize it with preachiness, which is what happens here. That rock-cock collection might as well be a box of baseball cards.
    • 38 Metascore
    • 30 Peter Rainer
    You would have to have been born yesterday to miss the switcheroos and reeking red herrings planted in this pulp.
    • 35 Metascore
    • 30 Peter Rainer
    Sordid Thelma & Louise-ish spree, which also has certain affinities with Breathless but would be better termed Affectless.
    • 36 Metascore
    • 30 Peter Rainer
    Based on an interminable 1994 international bestseller by Louis de Bernières that I found impossible to make my way through. The movie duplicates exactly my experience with the book, although I must say I was thankful to be spared serial outbreaks of hearty Greek dancing.
    • 50 Metascore
    • 30 Peter Rainer
    The role plays all too easily into De Niro's worst current habits. He's dulled himself out in the service of a phony kitchen-sink pseudo-realism. For De Niro, less has become less.
    • 28 Metascore
    • 30 Peter Rainer
    I Am Sam is about as connected to the real world as Dr. Seuss's Green Eggs and Ham, from which its title is derived -- in fact, in the realism department, Seuss may have the edge.
    • 25 Metascore
    • 30 Peter Rainer
    He (Gibson) ramrods his way through the bugged-out hysterics as if he were appearing in a movie that actually made sense. What a brave heart.
    • 43 Metascore
    • 30 Peter Rainer
    He's (Gandolfini) the true star of the film, and his stardom is achieved in the most honest of ways, through the sheer brute force of his talent.
    • 60 Metascore
    • 30 Peter Rainer
    Since this is a coming-of-age movie about a poor rural kid who grapples with the big city, it would be nice if its protagonist weren’t such a lummox.
    • 57 Metascore
    • 30 Peter Rainer
    An exuberantly garish French movie.
    • 31 Metascore
    • 30 Peter Rainer
    The Grisham-esque murder-mystery plot got so scrambled that, finally, it’s anybody’s guess what the filmmakers intended.
    • 32 Metascore
    • 30 Peter Rainer
    Eddie Murphy and Robert De Niro have made any number of lame movies on their own, but there's a special wastefulness connected to their first co-starring vehicle, Showtime: It's lameness times two, and then some.
    • 45 Metascore
    • 30 Peter Rainer
    Probably the most garishly masochistic star turn since Mel Gibson's "The Man Without a Face." It could also be the most baroque chick flick ever made, the freakazoid spawn of "An Affair to Remember" and "The Matrix."
    • 43 Metascore
    • 30 Peter Rainer
    Being a cultural icon is a time-limited occupation; after a while, the culture moves on, and if you don't move with it, you end up with a movie like Anything Else.
    • 64 Metascore
    • 30 Peter Rainer
    Elf
    I was looking forward to something a tad more satirical than this Hallmark card of a movie, which plugs innocence and goodness like they’re going out of style.
    • 70 Metascore
    • 30 Peter Rainer
    It’s forceful, to be sure, but in a lurid way that suggests a telenovela that’s been baking in the sun too long.
    • 55 Metascore
    • 30 Peter Rainer
    Ends with a bunch of goofy outtakes--which are as dismal as the rest of the movie. How do you decide what to leave out when there's nothing worth keeping in?
    • 44 Metascore
    • 30 Peter Rainer
    The new film stars The Rock, but The Wood might be a better description of his performance.
    • 47 Metascore
    • 30 Peter Rainer
    The catastrophe is so pulped and exaggerated that uninformed audiences will safely assume that global warming is just a Democratic scare tactic.
    • 43 Metascore
    • 30 Peter Rainer
    It's big and loud, but this Peacemaker is still a dud.
    • 35 Metascore
    • 30 Peter Rainer
    What's missing is romance. Despite the engaging friskiness of its two stars, the film is romantically vapid. Watching it is like trying to warm up to a hologram.
    • 45 Metascore
    • 30 Peter Rainer
    As an actress, Madonna has to work on her vulnerability more.
    • 36 Metascore
    • 30 Peter Rainer
    The latest, and, one fears, not the last episode in the kiss-kiss-bang-bang saga of L.A. police Detectives Roger Murtaugh (Danny Glover) and Martin Riggs (Mel Gibson) is even more of a comic strip than its immediate predecessor. [15 May 1992]
    • Los Angeles Times
    • 24 Metascore
    • 30 Peter Rainer
    It's camp noir, but the director, Renny Harlin, doesn't allow the jokes, feeble as they are, to take hold. He slam-bangs the action as if he was prepping "Die Hard 2," so that even Clay's self-infatuated strut and bleary leer don't have time to register. The film is pointlessly souped up. [11 Jul 1990, p.1]
    • Los Angeles Times
    • 44 Metascore
    • 30 Peter Rainer
    In the end, the difference between "Funny Games" and Hollywood schlock horror may only be a matter of breeding. Funny Games is "Saw IV" with a PhD.
    • 45 Metascore
    • 25 Peter Rainer
    Youngsters may enjoy it. But the humor is generally of the genre heard in the boys' locker room at the high school gym.
    • 41 Metascore
    • 25 Peter Rainer
    When promising independent filmmakers decide to jump on the bandwagon and pump up the gore, the results are sure to be touted as visceral and unflinching. Don't be fooled. Kramer has even commented that the movie should be viewed as a modern-day Grimm's fairy tale. It's grim all right.
    • 45 Metascore
    • 25 Peter Rainer
    Weitz doesn't have the chops for satire, let alone black comedy.
    • 40 Metascore
    • 25 Peter Rainer
    This woozily uplifting saga is big on homilies and deficient in just about everything else.
    • 45 Metascore
    • 25 Peter Rainer
    Bacon lavishes his camera on her (Sedgwick) in various states of dress and undress, but the script, by Hannah Shakespeare - talk about having to live up to a name! - is a cheat. It rarely expands on the boy's crises in having to deal with such a mother.
    • 36 Metascore
    • 25 Peter Rainer
    I suspect audiences will see Shyamalan's portentous doodle for what it is - the height of arrogance and a bad night out at the movies.
    • 26 Metascore
    • 25 Peter Rainer
    Borderline unwatchable, although, as is true of all Gilliam movies, it certainly is different.
    • 26 Metascore
    • 25 Peter Rainer
    I hope Keaton doesn't begin to make a specialty of these roles. They play into what is least attractive in her repertoire – the loosey-goosey, knockabout side of her that all too swiftly devolves into hysterics.
    • 55 Metascore
    • 25 Peter Rainer
    Some movies are so flagrantly awful that they achieve classic status. To this rarefied company we must now add The Astronaut Farmer.
    • 31 Metascore
    • 25 Peter Rainer
    Graham was good in films such as "Boogie Nights" and "Bowfinger" where her apparent innocence was a smoke screen for her lustful connivance. To be effective in the movies, she needs something to counteract her wholesomeness.
    • 52 Metascore
    • 25 Peter Rainer
    Maybe Jackson should avoid any more movies with "snake" in the title.
    • 53 Metascore
    • 25 Peter Rainer
    The story is too self-conscious about its offbeat qualities, becoming so cool that it practically freezes on the screen.
    • 47 Metascore
    • 25 Peter Rainer
    Sometimes, dear reader, there's no place like home, and that's just where you should be when this gorefest opens at a theater near you.
    • 45 Metascore
    • 25 Peter Rainer
    After a powerful opening, when we see the first victim suddenly go blind while driving in traffic, the film devolves into a dystopian freak show and wastes many wonderful performers, including Mark Ruffalo and Julianne Moore.
    • 24 Metascore
    • 25 Peter Rainer
    By comparison, Bride Wars makes "Sex and the City" seem like Jane Austen.
    • 29 Metascore
    • 25 Peter Rainer
    The only point of interest in New in Town is sociological. In the current economic climate, this comedy about workers whose livelihood is rescued by a benevolent boss represents the ultimate wish-fulfillment fantasy. Don't spend your hard-earned discretionary cash on it.
    • 56 Metascore
    • 25 Peter Rainer
    Why are Steve Carell and Tina Fey wasting their time, and ours, by appearing in the miserable comedy Date Night?
    • 20 Metascore
    • 25 Peter Rainer
    The Last Airbender is like a Care Bears movie that got waylaid in the fourth dimension. It's insufferably silly.
    • 31 Metascore
    • 25 Peter Rainer
    Full disclosure: I have to say I did laugh during Your Highness. Twice, I think.
    • 30 Metascore
    • 25 Peter Rainer
    Numbingly inane comedy.
    • 36 Metascore
    • 25 Peter Rainer
    It's a mash-up of blah buddy comedy and gross-out CGI monster splatter, with nary a laugh to be had.
    • 89 Metascore
    • 25 Peter Rainer
    The effect is intended to be ghastly – which it certainly is – but I was equally repelled by this film’s conceit. Oppenheimer allows murderous thugs free rein to preen their atrocities, and then fobs it all off as some kind of exalted art thing. This is more than an aesthetic crime; it’s a moral crime.
    • 52 Metascore
    • 20 Peter Rainer
    The people who made this movie have either seen too much mayhem -- or they haven't seen any.
    • 46 Metascore
    • 20 Peter Rainer
    Don't go to this movie on a full stomach. Better yet, don't go.
    • 55 Metascore
    • 20 Peter Rainer
    Most movies take a while to slip you into a stupor. All the Pretty Horses makes you groggy right away. Set in 1949, it's a lackadaisical series of vignettes apparently culled from a much longer movie that never made it to the screen. Be thankful for that.
    • 49 Metascore
    • 20 Peter Rainer
    Writer-director Billy Morrissette doesn't have much feeling for satire -- or for Shakespeare. This is a comedy for people who couldn't make it through the CliffsNotes.
    • 43 Metascore
    • 20 Peter Rainer
    Plays out like "Cool Hand Luke" meets "Attica," and it's quite the silliest thing.
    • 32 Metascore
    • 20 Peter Rainer
    If Rock ever comes to his senses, he can host Saturday Night Live and skewer this damp, gag-riddled civics lesson of a movie.
    • 44 Metascore
    • 20 Peter Rainer
    Fred Schepisi, the great Australian director, had the thankless task of trying to turn Jesse Wigutow’s screenplay into something with a pulse, but his finesse is wasted on this steaming heap of dysfunctionalism.
    • 24 Metascore
    • 20 Peter Rainer
    Hollywood movies are once again taking on the job that Andy Griffith–era TV sitcoms used to fill, touting homespun values in Never Land.

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