For 2,135 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% 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 Plagues and Pleasures on the Salton Sea
Lowest review score: 0 Mixed Nuts
Score distribution:
2,135 movie reviews
    • 62 Metascore
    • 58 Peter Rainer
    Too much of The Names of Love is a joke book posing as a movie.
    • 62 Metascore
    • 58 Peter Rainer
    Director Wladyslaw Pasikowski has made the mistake of going about his business as if he were fashioning a horror film.
    • 49 Metascore
    • 58 Peter Rainer
    Chen Shi-Zheng, well regarded as an opera and theater director, makes his feature film debut.
    • 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.
    • 69 Metascore
    • 58 Peter Rainer
    For all the glam and swank, the film is essentially a bright, shiny, empty puzzle. The puzzlemaking by writer-director Tony Gilroy is clever but most frequently an end in itself.
    • 69 Metascore
    • 58 Peter Rainer
    The film has a creepy allure but, as movies featuring full-bore sexual gamesmanship often do, it wears thin.
    • 68 Metascore
    • 58 Peter Rainer
    Departures is sappy and wacky – not the best combination.
    • 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.
    • 32 Metascore
    • 58 Peter Rainer
    Who can really differentiate between these films anyway? In the end, they all devolve (evolve?) into clashing, clanging bots.
    • 38 Metascore
    • 58 Peter Rainer
    Crossing Over is not a success but make no mistake: There is great drama to be found in these streets.
    • 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.
    • 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.
    • 65 Metascore
    • 58 Peter Rainer
    Most of the time, however, we are watching pathology without benefit of insight.
    • 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.
    • 31 Metascore
    • 58 Peter Rainer
    If only there was less mush and more meat in this stew.
    • 58 Metascore
    • 58 Peter Rainer
    The movie becomes, perhaps inadvertently, a celebration of selling out.
    • 81 Metascore
    • 58 Peter Rainer
    For an ostensibly soul-deep movie like this to work, we need more than smirks and scowls.
    • 44 Metascore
    • 58 Peter Rainer
    A promising premise and some very good actors are smothered in goo in The Answer Man.
    • 23 Metascore
    • 58 Peter Rainer
    Adam Sandler plays a dual role in Jack and Jill, and he's a lot better as Jill than as Jack.
    • 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.
    • 64 Metascore
    • 58 Peter Rainer
    Blunt and Friend strike a few flinty sparks, and Julian Fellowes’s script has its share of dry-as-dust witticisms. Most of the time, though, it’s a stiff pageant.
    • 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.
    • 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.
    • 43 Metascore
    • 58 Peter Rainer
    A little of this movie's preppy, whiny expostulation goes a long way.
    • 59 Metascore
    • 58 Peter Rainer
    Cary Grant, to take the premier example, was a great screwball comic who was, at the same time, intensely romantic. With Grant, funniness and sexiness were twinned. This is an exceedingly difficult combo to bring off, and Duris, though it would be unfair to compare him with Grant, doesn't come close.
    • 38 Metascore
    • 58 Peter Rainer
    As generic as its title.
    • 66 Metascore
    • 58 Peter Rainer
    What Looking For Eric demonstrates is that drama, not comedy, is how Loach makes sense of things. On the other hand, I often find his dramas unremittingly bleak. I guess what I'm really saying is that I'm not a big fan of Ken Loach.
    • 47 Metascore
    • 58 Peter Rainer
    It’s not just Frankie who is putting on a show here. Berry is also overemphatically showing off her chops.
    • 61 Metascore
    • 58 Peter Rainer
    Has some vitality, but it sinks into cliché just the same.

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