For 2,246 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 5.7 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 For Your Consideration
Lowest review score: 0 She Hate Me
Score distribution:
2246 movie reviews
    • 58 Metascore
    • 58 Peter Rainer
    The law of diminishing returns is no more apparent than in the movie world. A sequel, with rare exceptions, is worse than the film it follows, and sequels of sequels fare even worse. Such is the case with Shrek the Third.
    • 51 Metascore
    • 58 Peter Rainer
    Once around the block with these folks is more than enough.
    • 55 Metascore
    • 58 Peter Rainer
    He's a mishmash of cultural opposites, and his motormouth swagger is fitfully amusing. So is his backhand.
    • 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.
    • 62 Metascore
    • 58 Peter Rainer
    Compared with, say, Mel Gibson's "Apocalypto," which featured this sort of stuff in practically every frame, Marshall's film is downright Disneyish.
    • 47 Metascore
    • 58 Peter Rainer
    The romantic comedy 27 Dresses will work best for people who have never seen a romantic comedy. If you have, you might find it amusing to tally up the steals – I mean, homages.
    • 64 Metascore
    • 58 Peter Rainer
    Che
    Although Steven Soderbergh's two-part Che may have an epic running time of almost 4-1/2 hours, its scope is surprisingly narrow.
    • 49 Metascore
    • 58 Peter Rainer
    The best I can say is that it’s another tour de force for Gyllenhaal, although his intensity isn’t matched by the movie itself, which sacrifices much of its power by too often settling for easy, nut-brain effects.
    • 52 Metascore
    • 58 Peter Rainer
    It’s an only-in-America success story worth recounting.
    • 49 Metascore
    • 58 Peter Rainer
    Lee is very good at creating a sense of free-floating dread, but he, and his screenwriter Mark Protosevich, don’t have a real flair for pulp.
    • 78 Metascore
    • 58 Peter Rainer
    Only Rebecca Hall comes through with a genuineness that rises above Holofcener’s doodlings. Her scenes with Guilbert resonate because, in the end, Rebecca is the only character in the movie who seems to care about anything other than his or her own – take your pick – bank account, complexion, weight, guilt. In this company, she’s practically a saint.
    • 75 Metascore
    • 58 Peter Rainer
    The overlong Trainwreck would have been better if it had derailed more often.
    • 34 Metascore
    • 58 Peter Rainer
    Safe Haven is a species of Gothic chick flick.
    • 83 Metascore
    • 58 Peter Rainer
    Their 40-year marriage seems like more of a trial than this overweening, lightly likable movie acknowledges.
    • 51 Metascore
    • 58 Peter Rainer
    Not awful, not wonderful, Jack the Giant Slayer is a midrange fairy tale epic that’s a lot more ho-hum than fee-fi-fo-fum.
    • 52 Metascore
    • 58 Peter Rainer
    A dash – only a dash – of Tim Burton ghoulishness might have helped.
    • 74 Metascore
    • 58 Peter Rainer
    Draggy Italian epic that's big on production values but skimpy on inspiration.
    • 47 Metascore
    • 58 Peter Rainer
    If the movie accomplishes nothing else, though, I hope it inspires the curious to actually sit down and finally read “Moby-Dick.” It’s an extraordinary yarn. Really.
    • 79 Metascore
    • 58 Peter Rainer
    A few of the supporting players, including Kim Dickens, as a suspicious local cop, and Carrie Coon, as Nick’s twin sister, move beyond the formulaic, which is more than can be said for the movie.
    • 69 Metascore
    • 58 Peter Rainer
    Whatever brought Greene down was far more complex than this film allows for.
    • 67 Metascore
    • 58 Peter Rainer
    It's a showpiece for that Belgian city's medieval splendor. You may want to book vacation reservations upon leaving the theater, although the memory of this underwhelming movie may tarnish the sightseeing.
    • 65 Metascore
    • 58 Peter Rainer
    Despite its arty veneer and its ostensibly political edge, Circumstance seems more interested in titillation than revelation.
    • 72 Metascore
    • 58 Peter Rainer
    Amalric throws in flashbacks and flash-forwards between bedroom and courthouse (yes, there’s a murder), and I was reminded again why I prefer my noirs in the hardboiled American style rather than tricked up with all this faux Alain Resnais-style filigree.
    • 47 Metascore
    • 58 Peter Rainer
    It’s nice to see oldsters cavorting in kaboom movies, but a little of this stuff goes a long way.
    • 57 Metascore
    • 58 Peter Rainer
    I prefer the goofier approach, which is why, even though Hemsworth isn't going to be cast in "King Lear" anytime soon, he's the best thing about Thor.
    • 44 Metascore
    • 58 Peter Rainer
    De Niro, in what amounts to an extended cameo, is radically miscast. That's still no excuse for his nonperformance, which is beyond lackluster.
    • 48 Metascore
    • 58 Peter Rainer
    The film somehow manages to be both a turn-on and a turnoff.
    • 78 Metascore
    • 58 Peter Rainer
    Were it not for Anne Hathaway's Catwoman-ish Selina Kyle, there wouldn't be a single character in "Rises" who cracks a smile. I'm not arguing that "Rises" should be "Singin' in the Rain." But its Wagnerian ambitions are not matched by its material. It hasn't earned its darkness.
    • 47 Metascore
    • 58 Peter Rainer
    The trouble with pet projects is that too often they are unduly do-goody, and so it is here.
    • 40 Metascore
    • 58 Peter Rainer
    For most of the way this ecofriendly fantasy is pleasantly clunky, and Reeves, whose expressive range here is slim to none, is perfectly cast as the alien.

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