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
    • 31 Metascore
    • 58 Peter Rainer
    The chemistry may be good, the movie isn’t.
    • 44 Metascore
    • 58 Peter Rainer
    It’s all third-rate “Pink Panther” stuff, and Brosnan, eager to play down his 007 bona fides, overcorrects.
    • 56 Metascore
    • 58 Peter Rainer
    Director Robert Stromberg, making his debut as a director after supervising the visual effects for movies like “Alice in Wonderland” and “Avatar,” lacks the transcendent touch.
    • 54 Metascore
    • 58 Peter Rainer
    The sole bright spot is Christopher Walken playing a benevolent Mafia don.
    • 32 Metascore
    • 58 Peter Rainer
    Who can really differentiate between these films anyway? In the end, they all devolve (evolve?) into clashing, clanging bots.
    • 62 Metascore
    • 58 Peter Rainer
    Most of the music is by New Radicals frontman Gregg Alexander, and it’s heartfelt without ever really touching the heart.
    • 69 Metascore
    • 58 Peter Rainer
    The film has a creepy allure but, as movies featuring full-bore sexual gamesmanship often do, it wears thin.
    • 38 Metascore
    • 58 Peter Rainer
    As generic as its title.
    • 71 Metascore
    • 58 Peter Rainer
    There is no law requiring a biopic to make “nice” with its subject, but Get On Up, which presents Brown almost entirely unflatteringly except as a performer, makes you wonder why the filmmakers (including Mick Jagger, one of its producers) took the trouble.
    • 47 Metascore
    • 58 Peter Rainer
    The trouble with pet projects is that too often they are unduly do-goody, and so it is here.
    • 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.
    • 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.
    • 48 Metascore
    • 58 Peter Rainer
    There is nothing surprising about the way this overlong movie, written and directed by David Dobkin, plays itself out.
    • 64 Metascore
    • 58 Peter Rainer
    Schmaltz this thick requires a director who can at least make us feel that our tears are not being shamelessly jerked. But St. Vincent is too clunky to hide its tear-slicked tracks. Maybe that’s a good thing. At least that’s more endearing than being worked over by a smooth operator who knows exactly which buttons to press.
    • 88 Metascore
    • 58 Peter Rainer
    A movie with ambitions as high-flying as its superhero but a success rate decidedly lower to the ground.
    • 63 Metascore
    • 58 Peter Rainer
    Laggies itself isn’t exactly slow – its pace is pleasantly meandering – and it’s far from aimless, although what it’s aiming for isn’t always clear.
    • 76 Metascore
    • 58 Peter Rainer
    By turning the loner Louis into a nutcase – if he blinked at all during the movie, I missed it – the movie becomes a species of horror film.
    • 74 Metascore
    • 58 Peter Rainer
    Nolan tries to pair the cosmic esoterica with this father-daughter tussle, but the mix doesn't jell. Visionary movies require a bigger vision.
    • 52 Metascore
    • 58 Peter Rainer
    When we last see a much older Moses en route to Canaan, we can at least be grateful that this film, unlike so many other movies these days, does not seem primed for a sequel.
    • 81 Metascore
    • 58 Peter Rainer
    For an ostensibly soul-deep movie like this to work, we need more than smirks and scowls.
    • 33 Metascore
    • 58 Peter Rainer
    Considering this musical has its roots in Depression-era American, Gluck’s contemporary take on the material is eerily lacking in observations about the rich/poor divide in this country.
    • 51 Metascore
    • 58 Peter Rainer
    Watching actors tap out code as big buzzing screens of digital data flash on the screen just doesn’t cut it.
    • 74 Metascore
    • 58 Peter Rainer
    I suppose the relationship is Oedipal or primal or something or other, but mostly it’s just an excuse for Dolan to stage a series of gaudy shout-fests.
    • 56 Metascore
    • 58 Peter Rainer
    This is the kind of movie where we’re not supposed to know at any time who is playing whom, but since the characterizations are glossy and paper-thin, it’s difficult to get worked up about who gets fleeced.
    • 58 Metascore
    • 58 Peter Rainer
    The movie becomes, perhaps inadvertently, a celebration of selling out.
    • 67 Metascore
    • 58 Peter Rainer
    The only grace note in this otherwise determinedly graceless movie is the classy way Walker’s exit is handled.
    • 50 Metascore
    • 58 Peter Rainer
    A sloggy, heartfelt piece of quasi-magical realist storytelling.
    • 40 Metascore
    • 58 Peter Rainer
    Crowe is deft at keeping the various plots spinning, but there are too many of them, and they don’t intersect pleasingly.
    • 63 Metascore
    • 58 Peter Rainer
    Despite some occasional moments of real sadness and terror, the turmoil in this movie is decidedly on the upbeat.
    • 78 Metascore
    • 58 Peter Rainer
    Slaboshpytskiy doesn’t attempt to get inside the psychology of these people, or expand the meanings, political or otherwise, of their descent. There’s a stolidity to the filmmaking, with lots of overlong takes, that is meant to be ruminative but often just seems negligent.

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