For 2,413 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 4.4 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The Passenger (re-release)
Lowest review score: 0 Identity Thief
Score distribution:
2413 movie reviews
    • 30 Metascore
    • 33 Peter Rainer
    A movie that at best is irrelevant and at worst is unwatchable.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 30 Peter Rainer
    Gets points for oddness. Excellence is another matter.
    • 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.
    • 57 Metascore
    • 30 Peter Rainer
    An exuberantly garish French movie.
    • 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
    • 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?
    • 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
    • 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.
    • 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.
    • 45 Metascore
    • 30 Peter Rainer
    As an actress, Madonna has to work on her vulnerability more.
    • 41 Metascore
    • 30 Peter Rainer
    Sandler being Chaplinesque isn't pretty; he's just doing his smart-aleck slacker shtick with a moister eye.
    • 33 Metascore
    • 30 Peter Rainer
    A stinker.
    • 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 38 Metascore
    • 30 Peter Rainer
    From the look of this film, its prime appreciators will be heavy-metal futurist dweebs.
    • 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.
    • 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.
    • 39 Metascore
    • 30 Peter Rainer
    The Bodyguard isn't a good movie, but it's often enjoyably bad, and that's no small achievement. So many talented people had a hand in it, starting with director Mick Jackson and screenwriter Lawrence Kasdan, that you stare at the screen in a state of rapt bewilderment. Just about everything that can go wrong with this film does, and yet it's compulsively watchable. (So is a train wreck.) [25 Nov 1992, p.F1]
    • Los Angeles Times
    • 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.
    • 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.
    • 44 Metascore
    • 30 Peter Rainer
    The dance he (Wang) ended up with is on the wrong lap.
    • 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.

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