For 2,123 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 6.1 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Seymour: An Introduction
Lowest review score: 0 Mixed Nuts
Score distribution:
2,123 movie reviews
    • 56 Metascore
    • 60 Peter Rainer
    Despite its exuberant perversities, Waters’s take on erotomania is almost quaint.
    • 65 Metascore
    • 60 Peter Rainer
    Suggests a cross between "Sunset Boulevard" and "All About Eve." The suggestion, alas, doesn't go very far, but Bening's performance approaches the pantheon.
    • 52 Metascore
    • 60 Peter Rainer
    The problem is that Allen is getting a bit long in the tooth to be playing a romancer-rescuer, and since he and Helen Hunt have a rather frigid actorly rapport, we have plenty of time to notice the awkward, and barely acknowledged, disparity in their ages.
    • 62 Metascore
    • 60 Peter Rainer
    Were it not for these performances (Blanchett, Ribisi, Swank, Reeves), The Gift would be fairly negligible.
    • 57 Metascore
    • 60 Peter Rainer
    Some directors can profit from the strictures of a strong narrative, but, for Linklater, the conventionality of The Newton Boys works against the glide of his free-floating style.
    • 74 Metascore
    • 60 Peter Rainer
    I wanted to be transported by this movie; I wasn't quite. But I respect it.
    • 54 Metascore
    • 60 Peter Rainer
    In U-Turn Stone is reaching for the pulp without the politics. He's trying for noir as ritual dance. But Stone is too frenzied a filmmaker to keep the dance steps simple.
    • 62 Metascore
    • 60 Peter Rainer
    What's weird about subUrbia is that Linklater's zoned-out technique is wedded to Bogosian's in-your-face power-rant oratory. The result is like local anesthesia--you can see the incisions, but you can't feel them.
    • 53 Metascore
    • 60 Peter Rainer
    Even though The Devil's Own reportedly cost close to $100 million, it comes across as a sleek, medium-grade character study occasionally punctuated by gunfire. If this is what $100 million buys these days, can $200-million movies be very far off?
    • 49 Metascore
    • 60 Peter Rainer
    The entire remake has been dumb-dumbed by John Hughes, who wrote the script and produced.
    • 67 Metascore
    • 60 Peter Rainer
    It's a movie about the warm feeling you get when you belong to a family, and, throughout, the thermostat is turned up high.
    • 66 Metascore
    • 60 Peter Rainer
    Directed by Alan Rudolph and co-scripted by him with Randy Sue Coburn, Mrs. Parker is a real odd duck of a movie. It seems to have been made both as tribute and put-down. The sporty conviviality of the Algonquin Round Table is celebrated, and yet there's a hollowness to the confabs.[21 Dec 1994, p.4]
    • Los Angeles Times
    • 53 Metascore
    • 60 Peter Rainer
    If you're young enough to have missed some of the better Lemmon-Matthau pairings, like "The Fortune Cookie" or "The Odd Couple," then Grumpy Old Men won't seem so grumpy. [25 Dec 1993, p.2]
    • Los Angeles Times
    • 50 Metascore
    • 60 Peter Rainer
    French Kiss tries to be a glass of pink champagne, but some of the fizz has gone out of the bottle. But director Lawrence Kasdan and screenwriter Adam Brooks cram so many potshots into the piece that, after a while, it makes you laugh anyway.
    • 85 Metascore
    • 60 Peter Rainer
    Nothing that Davies does is ordinary or artless but his craftsmanship has its suffocating side too.
    • 71 Metascore
    • 60 Peter Rainer
    Lee has phenomenal presence, and his movements are so balletically powerful that his rampages seem like waking nightmares. Lee keeps you watching The Crow when you'd rather look away.
    • 58 Metascore
    • 58 Peter Rainer
    The presentation has verve. But the story is confusingly told - everything is NOT illuminated - and, as the seeker, Elijah Wood is a big blank.
    • 54 Metascore
    • 58 Peter Rainer
    Beautiful geishas flit and whoosh through the equally beautiful scenery. Their kimonos are artworks-in-motion. So why is the film so boring? It could be because director Rob Marshall is so transfixed by all the ritualistic hoo-ha that he never brings the story down to earth.
    • 47 Metascore
    • 58 Peter Rainer
    Most of it plays out as sub-medium-grade farce, but Carrey has some funny calisthenic bits where he appears to have the pliability of a rubber toy.
    • 45 Metascore
    • 58 Peter Rainer
    It's a moderately enjoyable escapade that isn't quite clever enough for adults and not quite imaginative enough for children.
    • 57 Metascore
    • 58 Peter Rainer
    Although Casanova is far from a stinker, I can't join in the chorus of praise for what is essentially a coy farce replete with arch performances and even archer dialogue.
    • 58 Metascore
    • 58 Peter Rainer
    Haskins comes across as too pure. When he plays only his black athletes in the championship finals, his monomania is presented as a good thing. After all, he won, didn't he?
    • 54 Metascore
    • 58 Peter Rainer
    Mostly a snooze. Maybe if Buscemi himself had starred in it things would have turned out better.
    • 46 Metascore
    • 58 Peter Rainer
    The Da Vinci Code is so transparently pitched as pulp entertainment that, in the end, it's about as subversive as "Starsky and Hutch."
    • 46 Metascore
    • 58 Peter Rainer
    Shriner's direction has an Afterschool Special blandness, but those mechanical owls are quite realistic. While the film was in production Hiaasen said that he had "nightmare visions of the gopher in 'Caddyshack.' " He needn't have worried.
    • 65 Metascore
    • 58 Peter Rainer
    Most of the time, however, we are watching pathology without benefit of insight.
    • 62 Metascore
    • 58 Peter Rainer
    This movie might have been better if it hadn't fashioned itself as a cross between "Citizen Kane" and "Chinatown," and instead had used Reeves's story to dramatize the transitional state of 1950s Hollywood.
    • 52 Metascore
    • 58 Peter Rainer
    It's a rather lifeless re-telling of the Nativity, with greeting-card imagery and stiff performances.
    • 54 Metascore
    • 58 Peter Rainer
    By the end, 10 Items Or Less has the obnoxiousness of a vanity project. Freeman is having a better time than we are.
    • 68 Metascore
    • 58 Peter Rainer
    It's difficult to imagine the target audience for this film. Gangbangers, perhaps?

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