For 2,038 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 6.3 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 24 Hour Party People
Lowest review score: 0 I Now Pronounce You Chuck & Larry
Score distribution:
2,038 movie reviews
    • 89 Metascore
    • 90 Peter Rainer
    Coppola both wrote and directed, and there’s a pleasing shapelessness to her scenes. She accomplishes the difficult feat of showing people being bored out of their skulls in such a way that we are never bored watching them.
    • 82 Metascore
    • 90 Peter Rainer
    Linklater, whose previous movies include "Slacker," "Before Sunrise," and "Waking Life," may be the most versatile director of his generation. School of Rock is his most unabashedly mainstream movie by far, and yet it’s commercial in the best way.
    • 82 Metascore
    • 90 Peter Rainer
    The jamboree is beautifully shot and directed, by Chris Menges and David Leland respectively, and there is a haunting touch: the presence of George’s son, Dhani, on guitar, looking near-identical to his dad in his twenties.
    • 84 Metascore
    • 90 Peter Rainer
    Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
    • tbd Metascore
    • 90 Peter Rainer
    It’s a magical little movie about a most unmagical subject.
    • 73 Metascore
    • 90 Peter Rainer
    Tsunashima gives a deft performance in a role that starts out as caricature but becomes full-bodied. Collette commands the screen virtually the entire time.
    • 94 Metascore
    • 90 Peter Rainer
    What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
    • 82 Metascore
    • 90 Peter Rainer
    As a piece of inspirationalism about human stamina, Touching the Void is peerless, but what it doesn't--perhaps can't--explain is why people place themselves in such peril.
    • 85 Metascore
    • 90 Peter Rainer
    Kim exalts nature--life’s passage--without stooping to sentimentality. He sees the tooth and claw, and he sees the transcendence. Whether this is a Buddhist attribute, I cannot say, but the impression this movie leaves is profound: Here is an artist who sees things whole.
    • 82 Metascore
    • 90 Peter Rainer
    Free speech isn't merely a shibboleth in The Agronomist. As embodied by Dominique, it's a fire-breathing force.
    • 71 Metascore
    • 90 Peter Rainer
    Most of the time we are with Cruise and Foxx, and their interplay is never less than galvanizing.
    • 79 Metascore
    • 90 Peter Rainer
    While making his new film, he (McElwee) imagines that his boy is looking back at his screen image from some distant point in the future, when McElwee himself is gone. No child of a moviemaker could ask for a more beautiful bequest.
    • 66 Metascore
    • 90 Peter Rainer
    The work of an obsessive who has developed a light touch--though some of his more outright themes and pronouncements can be heavy-going.
    • 83 Metascore
    • 90 Peter Rainer
    The documentary is, in essence, not much more than a record of what happened in Zaire, but it has been assembled with a real feeling for the historical moment. It's literally a blast from the past.
    • 81 Metascore
    • 83 Peter Rainer
    It ranks high on the Cronenberg scale as one of his more disturbing forays into depravity.
    • 80 Metascore
    • 83 Peter Rainer
    A solid achievement, but those in the press who have been trumpeting its greatness may be going in for a bit of self-congratulation. The movie plays very well to the choir.
    • 60 Metascore
    • 83 Peter Rainer
    No great claims should be made for In Her Shoes. If the aim here was to show how chick lit can become just plain lit, the effort failed. But there is something to be said for froth when it's expertly whipped.
    • 72 Metascore
    • 83 Peter Rainer
    Black, who wrote "Lethal Weapon," makes his directorial debut, and he puts a fresh spin not only on that film but also on a whole slew of films noirs.
    • 71 Metascore
    • 83 Peter Rainer
    The film is better than the recent "The War Within," which tried for the same things, but ultimately, and perhaps unavoidably, we are left face to face with the unknowable.
    • 56 Metascore
    • 83 Peter Rainer
    Pound for pound, Ami is a heavyweight.
    • 67 Metascore
    • 83 Peter Rainer
    Plowright's performance as a genteel widow in Mrs. Palfrey at the Claremont is a small-scale gem, deeply felt without being in the least bit showy.
    • 81 Metascore
    • 83 Peter Rainer
    The scenes between Kong and Ann are much more than a goof: They're the soul of the movie.
    • 72 Metascore
    • 83 Peter Rainer
    Rhys-Meyers and Johansson work well together - they both know how to project glossiness and guile.
    • 68 Metascore
    • 83 Peter Rainer
    This film would be better if it wasn't so slick. Still, parts of it are enjoyably shaggy, and Hopkins is very endearing.
    • 83 Metascore
    • 83 Peter Rainer
    This is the most Hitchcockian of Haneke's films. A seemingly well-adjusted man in a well ordered universe is brought to the brink.
    • 52 Metascore
    • 83 Peter Rainer
    It's a classic example of how a movie can be great without, strictly speaking, being good. But when something is this funny, who wants to speak strictly?
    • 63 Metascore
    • 83 Peter Rainer
    Soderbergh does overemphasize the "little-people" dreariness of it all. But there is much low-key humor here, too, albeit on the dark side.
    • 59 Metascore
    • 83 Peter Rainer
    What actors! The great Miriam Margolyes has a wonderful cameo as a scullery maid, and Colin Firth manfully endures a face full of frosting. And then there's Angela Lansbury, playing her first movie role in 20 years as the villainous Aunt Adelaide.
    • 76 Metascore
    • 83 Peter Rainer
    Rothemund's use of the recorded testimony, while it gives his film a startling veracity, also limits his imagination. It prevents him from delving too deeply into the psychology of these activists.
    • 56 Metascore
    • 83 Peter Rainer
    Rapp has clearly been influenced by such lyrically disaffected '70s movies as "Five Easy Pieces." He brings out in Deschanel a sense of yearning, an avidity, that hits home.