For 2,100 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 6.4 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 My Kid Could Paint That
Lowest review score: 0 Couples Retreat
Score distribution:
2,100 movie reviews
    • 78 Metascore
    • 90 Peter Rainer
    The lifelong friends in Fred Schepisi's marvelous Last Orders actually seem like lifelong friends.
    • 74 Metascore
    • 90 Peter Rainer
    A mesmerizing documentary.
    • 84 Metascore
    • 90 Peter Rainer
    The Pinochet Case is a searing album of remembrance from those who, having survived, suffered most.
    • 84 Metascore
    • 90 Peter Rainer
    Beautifully directed by Phillip Noyce, the film -- is a full experience, a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence.
    • 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.
    • 85 Metascore
    • 90 Peter Rainer
    Wiseman lets the material breathe in a manner unique to the subject.
    • 78 Metascore
    • 90 Peter Rainer
    Michel Bouquet's performance makes Anne Fontaine's How I Killed My Father required viewing.
    • 71 Metascore
    • 90 Peter Rainer
    Most of the time we are with Cruise and Foxx, and their interplay is never less than galvanizing.
    • 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.
    • 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.
    • tbd Metascore
    • 90 Peter Rainer
    It’s a magical little movie about a most unmagical subject.
    • 83 Metascore
    • 90 Peter Rainer
    A comedy in the best sense--it draws its life from the pitch-perfect authenticity of its characters.
    • 79 Metascore
    • 90 Peter Rainer
    A flashy, nasty triumph
    • 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.
    • 77 Metascore
    • 90 Peter Rainer
    What it's really about is the euphoria that talent can bring to those who are possessed by it. That euphoria lights up the screen.
    • 88 Metascore
    • 90 Peter Rainer
    The funniest and most emotionally charged erotic road movie since Bertrand Blier's "Going Places."
    • 79 Metascore
    • 90 Peter Rainer
    It's an elliptical tragedy in which the fate of its characters takes on a larger significance while never losing its intimacy.
    • 77 Metascore
    • 90 Peter Rainer
    A movie that really zips along; it offers some of the same pleasures as the silent slapstick comedies, particularly the Keaton films, with their sense of how sheer velocity carries its own wit.
    • 83 Metascore
    • 90 Peter Rainer
    It's a truly prodigious piece of work, resembling a career summation far more than a maiden voyage.
    • 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.
    • 84 Metascore
    • 90 Peter Rainer
    Moodysson captures exactly the preening narcissism and gumption of these frazzled would-be revolutionaries trying to wriggle out of their bourgeois straitjackets.
    • 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.
    • 90 Metascore
    • 90 Peter Rainer
    It would be a mistake to regard American Splendor as an anthem for the common man. It is the UNCOMMON that is being celebrated here.
    • 81 Metascore
    • 90 Peter Rainer
    I've never seen another movie that so clearly expresses the sensual sustenance that great folk culture provides its practitioners.
    • 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.
    • 79 Metascore
    • 90 Peter Rainer
    What's remarkable is how often the photographer's subjects allow themselves to be caught on film; it's as if they understood implicitly that Nachtwey was there not only to agitate for reform but to memorialize their agony. He does both.
    • 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.
    • 84 Metascore
    • 90 Peter Rainer
    Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
    • 72 Metascore
    • 83 Peter Rainer
    Rhys-Meyers and Johansson work well together - they both know how to project glossiness and guile.
    • 85 Metascore
    • 83 Peter Rainer
    Vanessa Redgrave, as the adult Briony, appears at the very end in a monologue that rounds out the film with heartbreaking force.

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