For 2,311 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 5.1 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Happy-Go-Lucky
Lowest review score: 0 I Now Pronounce You Chuck & Larry
Score distribution:
2311 movie reviews
    • 70 Metascore
    • 75 Peter Rainer
    The irony of this film is that it's all about how we need to come together to conquer a calamity that pushes us apart.
    • 87 Metascore
    • 75 Peter Rainer
    Moneyball presents a misleading story line in order to prop up Billy Beane as some kind of would-be miracle worker antihero. In truth, he's just another tobacco-chewing go-getter trying to make sense of a game that, thankfully, has never quite made sense.
    • 67 Metascore
    • 75 Peter Rainer
    The film is actually fairly entertaining once you get past its overweening desire to be the bearer of bad tidings. A more adventuresome movie would have treated the down-and-dirty world of politics as its starting, not its ending, point.
    • 64 Metascore
    • 75 Peter Rainer
    Estevez directs with ease and assurance but, both internally and externally, not enough happens to these people.
    • 76 Metascore
    • 75 Peter Rainer
    It's all fairly entertaining but also confusing for anybody who doesn't get the Wall Street lingo. Irons, as the company's chief executive officer, seems to sympathize with us: He keeps asking his minions to explain the impending problems in plain English.
    • 76 Metascore
    • 75 Peter Rainer
    Durkin is a bit too fond of drawn-out scenes of ominous anomie, and he doesn't provide enough psychological ballast for Martha's misery. He doesn't need to. Olsen, with her angelic face and hard-bitten voice, provides it for him.
    • 62 Metascore
    • 75 Peter Rainer
    Still, I prefer a bit more drama in my political docudramas. The Conquest never really breaks out of its genre in the way that, say, "The Queen" or "Il Divo" or the more fictionalized "In the Loop" did.
    • 65 Metascore
    • 75 Peter Rainer
    A jagged, uneven, often unfulfilling experience, but there are a few first-rate scenes between Joseph and Hannah that convincingly put forward the capacity for redemption in even the most ravaged of souls.
    • 89 Metascore
    • 75 Peter Rainer
    The Artist is full of homages to many other films. I suppose it will be fun for cinéastes to pick out the references, but not all of them – like the ones from "Citizen Kane" or "Sunset Boulevard" – are especially germane.
    • 65 Metascore
    • 75 Peter Rainer
    Branagh is marvelous at conveying his exasperation. His conceit is that Olivier offstage acted the same as Olivier onstage – as if all of life was a vast playlet. For someone as thoroughly actorly as Olivier, this is probably no exaggeration. I would like to think that the great man himself would have smiled at Branagh's rollicking rendition of tantrums.
    • 71 Metascore
    • 75 Peter Rainer
    The coolness here has its creepiness, as in the dispassionate way Fincher depicts Lisbeth's rape and her subsequent, harrowing revenge, but the suspicion remains: Fincher didn't make this movie his own because he doesn't consider it his own.
    • 58 Metascore
    • 75 Peter Rainer
    Scarlett Johansson plays the head zookeeper and she's a lot less mannered than usual.
    • 72 Metascore
    • 75 Peter Rainer
    War Horse, despite its excellences, is a supreme demonstration of a director phoning it in.
    • 68 Metascore
    • 75 Peter Rainer
    If, like me, you find the movie technique known as motion capture creepy, you might be put off going to see Steven Spielberg's 3-D The Adventures of Tintin.
    • 56 Metascore
    • 75 Peter Rainer
    Danijel, who cares for Ajla while at the same time carrying out his mission of ethnic cleansing, is the least fully explored character in the movie, which leaves a big blur at its core. Still, this is an impressive piece of work that doesn't flinch from the atrocities that no doubt motivated Jolie to make the film in the first place.
    • 79 Metascore
    • 75 Peter Rainer
    The filmmaking is often wayward, the scenes of confrontation sometimes too stagey, but Oduye is a marvelous young actress with a camera-ready face brimming with soulfulness.
    • 58 Metascore
    • 75 Peter Rainer
    You can blissfully zone out on the director's pretty pictures, which is a permissible indulgence when the pictures are as delicately alluring as they are here. Also, the performances of Kikuchi and Hatsune are first-rate.
    • 67 Metascore
    • 75 Peter Rainer
    Taut almost to the point of abstraction.
    • 57 Metascore
    • 75 Peter Rainer
    The sadness and almost Chaplinesque pathos that ensues is well wrought and Close, although she is so recessive that at times she seems to fade into the ether, is quite touching.
    • 46 Metascore
    • 75 Peter Rainer
    Director Chris Renaud and his team have fun with these dithery, frenetic characters. The film is less special when it slows down and takes a breath of fresh air.
    • 53 Metascore
    • 75 Peter Rainer
    Dano is still doing his ethereal, creepy underacting routine, but, compared with De Niro's scenery chewing, he seems almost dignified. The film, written and directed by Paul Weitz, has many touching moments and many more hokey ones.
    • 68 Metascore
    • 75 Peter Rainer
    Schoenaerts has the gift of being able to make inarticulateness expressive. Perhaps this is why, in moments, he seems to recall Brando and Dean.
    • 70 Metascore
    • 75 Peter Rainer
    Boy
    It's a lovely oddity, and one that will probably hit home for preteen audiences all over the world.
    • 82 Metascore
    • 75 Peter Rainer
    At its best when it gets into the cutthroat dynamics of academic competition, which are both horrifying and amusing.
    • 64 Metascore
    • 75 Peter Rainer
    The wonderful Polish actor Jerzy Stuhr plays the harried papal spokesman. It's a marvelous movie until the halfway point, when it unaccountably devolves into silliness.
    • 59 Metascore
    • 75 Peter Rainer
    Although their responses too often seem rehearsed, their innocence is touching and redemptive.
    • 41 Metascore
    • 75 Peter Rainer
    A pleasant little dawdle and yet another example, in these dog days for cinema, that dogs are a movie's best friend.
    • 62 Metascore
    • 75 Peter Rainer
    I was expecting something raunchier. Instead, what we have here is a wistful, somewhat overextended but occasionally sweet comedy about a couple that can't – in more ways than one – quite get it together.
    • 67 Metascore
    • 75 Peter Rainer
    Freilich includes interviews with three generations of kibbutzniks and some fascinating historical footage going back to the 1920s.
    • 69 Metascore
    • 75 Peter Rainer
    The film is good enough to keep all the Marvel Comics crazed audiences out there deliriously happy while keeping the rest of us earthbound types in moderate thralldom.
    • 58 Metascore
    • 75 Peter Rainer
    If Baron Cohen is going to continue making scripted comedies, he needs to work with directors far less slapdash than Larry Charles. He can be one of the funniest people on the planet, but he needs a real dictator – I mean, director – calling the shots.
    • 58 Metascore
    • 75 Peter Rainer
    The aliens are as gloppy and gross as ever. I especially liked the joke about Andy Warhol being an alien – except didn't we know that already?
    • 72 Metascore
    • 75 Peter Rainer
    More good than bad, at least until its too tidy conclusion. Since it's essentially a three-character movie, it's a good thing that the characters, and the actors who play them, can hold the screen.
    • 69 Metascore
    • 75 Peter Rainer
    No envelopes are pushed in Brave, which was directed by Brenda Chapman and Mark Andrews, and no genres are subverted. It's a safe experience; but safe, in this case, is better than sorry.
    • 66 Metascore
    • 75 Peter Rainer
    The whiz-bang stuff doesn't kick in until the Peter-Gwen relationship (which is the best thing in the movie) is firmly established.
    • 77 Metascore
    • 75 Peter Rainer
    The Imposter has too many reenactments for my taste, and Bourdin is glorified by Layton more often than he is condemned. Still, this is one creepy mystery.
    • 65 Metascore
    • 75 Peter Rainer
    If the film doesn't really explore the pain and bitterness of this marriage, it's still leagues ahead of most such attempts.
    • 65 Metascore
    • 75 Peter Rainer
    Karsin doesn't adequately detail the political complexities of the struggle, but how can one not respond to someone like tribal leader Flor Ilva, who declares, "We women are warriors, not with weapons, but with our thoughts and through raising our children."
    • 67 Metascore
    • 75 Peter Rainer
    Langella's performance turns what might have been a "Twilight Zone"-style trifle into something more: a movie about a proud, ornery man combating his fearfulness.
    • 65 Metascore
    • 75 Peter Rainer
    What does it all mean? I'm not convinced that Fricke's movies are much more than exalted travelogues, but you certainly feel as if you've been somewhere after you've seen one of them.
    • 84 Metascore
    • 75 Peter Rainer
    My favorite line in the movie comes when Gordon-Levitt, in a face-off with his mob boss (Jeff Daniels), informs him that he'd like to leave the business one day and move to France, to which Daniels replies: "I'm from the future; you should go to China."
    • 69 Metascore
    • 75 Peter Rainer
    As the "Empress of Fashion" who was the fashion editor of "Harper's Bazaar" before editing "Vogue" in its 1960s heyday, Vreeland comes across in the movie as something of a cross between Auntie Mame and Godzilla. She was a true original in a world where knock-offs abounded.
    • 45 Metascore
    • 75 Peter Rainer
    The director of this jamboree is appropriately named Olivier Megaton.
    • 71 Metascore
    • 75 Peter Rainer
    The movie has some powerful moments, but it's mostly superficial.
    • 76 Metascore
    • 75 Peter Rainer
    The people who made Flight have done a courageous thing. With all the potential revenue to be had from in-flight movie sales, they have made a movie that is guaranteed to never be shown on an airplane.
    • 86 Metascore
    • 75 Peter Rainer
    Whenever Jones is on screen, the film's energy level kicks up several notches, an indication, I think, that Spielberg otherwise overdoses on directorial decorum.
    • 81 Metascore
    • 75 Peter Rainer
    It's slick stuff, but Lawrence, in her most high-low, sad-comic turn yet, is remarkable.
    • 79 Metascore
    • 75 Peter Rainer
    Lee may, in the end, be too balanced a filmmaker to give Life of Pi the extra spin of lyric delirium it sorely needs. It's a sane movie about an essentially deranged situation.
    • 50 Metascore
    • 75 Peter Rainer
    Werner Herzog, better known as one of the finest living directors, plays a bad guy with Teutonic relish. If he doesn't watch it, he'll have a whole other career for himself playing dead-eyed villains.
    • 81 Metascore
    • 75 Peter Rainer
    Will Tarantino, who is more talented than he allows, ever break out of his perpetual adolescence and make a movie that does more than glorify his love of schlock? Will we ever get a "Tarantino Unchained"?
    • 64 Metascore
    • 75 Peter Rainer
    What gives the movie its poignancy – what turns it into something more than a polite entertainment – is Smith's role. Or, to be more exact, her performance, in tandem with Courtenay's.
    • 76 Metascore
    • 75 Peter Rainer
    Saskia Rosendahl is a highly expressive actress within the limited confines of her character, and the film is studded with memorable scenes.
    • 81 Metascore
    • 75 Peter Rainer
    No
    The tone of uplift is earned. Larraín’s unarguable point is that, in politics, if we wait for good to issue only from the pure in heart, we will be waiting a very long time.
    • 65 Metascore
    • 75 Peter Rainer
    Writer-director Carl Franklin offers up a tone of heightened reverence that weighs down the material, but there are small, lovely moments when the magic realism approaches the magical.
    • 79 Metascore
    • 75 Peter Rainer
    It has moments when the spiritual and the secular burst forth in stunning disarray.
    • 64 Metascore
    • 75 Peter Rainer
    Renoir at least looks like a great movie. If you want a full-scale immersion in this material, I recommend “Renoir, My Father,” Jean Renoir’s wonderful 1958 biography. This book is the touchstone for all matters Renoir, both père and fils.
    • 72 Metascore
    • 75 Peter Rainer
    In the House does at least engage us. It even enlists us implicitly as co-conspirators in Claude’s devious storytelling.
    • 40 Metascore
    • 75 Peter Rainer
    How does all this play out for those of us – i.e., me – who have not been staying up nights fretting over the origins of the X-Men and Women? The answer is: Fairly well.
    • 56 Metascore
    • 75 Peter Rainer
    The film’s political scope is wide, beginning in 1917 and extending for sixty years, and, especially in the first hour or so, the antic, magical tone of Rushdie’s novel is sustained.
    • 76 Metascore
    • 75 Peter Rainer
    Assayas doesn’t bring out the fiery best in this material, but he’s smart enough to know that revolutionaries like their comforts as much as the ruling class does.
    • 72 Metascore
    • 75 Peter Rainer
    Since 9/11-style terrorism is very much on display here, I suppose it’s fair to say that Star Trek Into Darkness is a sci-fi blow-out with overtones of the real. Series founder Gene Roddenberry would, I think, approve.
    • 42 Metascore
    • 75 Peter Rainer
    The most pressing question I took away from the film is, Are they really still teaching "A Tale of Two Cities" in honors English classes?
    • 82 Metascore
    • 75 Peter Rainer
    It’s a skimpy, overextended riff, but some of the seemingly tossed-off moments are lovely.
    • 85 Metascore
    • 75 Peter Rainer
    The only character in the film who seems to have the requisite gravity is Oscar’s mother, Wanda (the marvelous Octavia Spencer), whose scene with her son in San Quentin is as hard-bitten as the rest of the film isn’t.
    • 83 Metascore
    • 75 Peter Rainer
    One glaring question the film doesn’t raise: Why, given his history, is Tilikum still entertaining in sea parks?
    • 72 Metascore
    • 75 Peter Rainer
    I kept wishing that Still Mine had jettisoned the film’s true-story trappings and moved more deeply into the Craig-Irene duet unencumbered by bad-news bulletins from the building inspectors. Easily the best parts of the film are those in which husband and wife quietly summon up in often the barest of glances and touches a near-lifetime together.
    • 78 Metascore
    • 75 Peter Rainer
    Allen is content to have Jasmine, babbling to herself, waft into a psychoneurotic, Antonioni-esque haze that seems preordained by her class and her predicament. Her cry for help, if you wipe away all the artifice, resembles nothing so much as a plea for her charge cards to be reinstated.
    • 60 Metascore
    • 75 Peter Rainer
    Mangold front-loads the action, but near the end there’s a first-rate fight atop a bullet train between Wolverine/Logan and some especially pesky ninjas. It puts the train fights in the recent “The Lone Ranger” to shame.
    • 53 Metascore
    • 75 Peter Rainer
    It’s a miniature art history lesson that is also a rapt communion between two people who, at least in this moment, are joined in the ecstasy of creation.
    • 82 Metascore
    • 75 Peter Rainer
    James Ponsoldt, who directed from a script by Michael H. Weber and Scott Neustadter, is a bit too glib to do justice to this material, but the young actors, especially Woodley, are quite fine.
    • 73 Metascore
    • 75 Peter Rainer
    Tony Leung plays Ip Man, the real-life kung fu innovator who most famously trained Bruce Lee. His life takes in the upheavals in China from the 1930s through the ’50s, including the Japanese occupation.
    • 64 Metascore
    • 75 Peter Rainer
    The film’s title is derived from a magical black stone of Persian lore that reputedly absorbs the burdens of those who speak to it until it crumbles – freeing the speaker of her troubles.
    • 72 Metascore
    • 75 Peter Rainer
    We get to see film of daughter Tricia’s wedding (her father is a surprisingly agile ballroom dancer) and other oddities. We also hear more of the famous audiotapes than usual. You’ll be interested to know that Nixon, not in praise, referred to Henry Kissinger as a “swinger.”
    • 40 Metascore
    • 75 Peter Rainer
    By turns fascinating and infuriating.
    • 57 Metascore
    • 75 Peter Rainer
    You get a strong whiff of what it must have been like to be Johnny Cash, or his exasperated manager, from this film. It would make a good companion piece to “Walk the Line.”
    • 54 Metascore
    • 75 Peter Rainer
    It’s a major performance (Ruffalo) in a minor movie.
    • 96 Metascore
    • 75 Peter Rainer
    I wish the truly searing moments in this film were not continually counterbalanced by an overall historical-reenactment stiffness in the presentation.
    • 86 Metascore
    • 75 Peter Rainer
    It’s a filmmaker’s conceit. These filmmakers may come from Nebraska, but, from the looks of things, they don’t want to be spending much time there.
    • 77 Metascore
    • 75 Peter Rainer
    At times the filmmakers seem to be taking potshots at Philomena for her placidity; other times Martin is made to seem crass and unfeeling – insufficiently spiritual. Life lessons are imparted, although the players never budge very much from their initial attitudes.
    • 90 Metascore
    • 75 Peter Rainer
    The film suffers from late-stage Scorsese-itis – wacky, low-slung, high-octane melodrama with lots of yelling and overacting.
    • 65 Metascore
    • 75 Peter Rainer
    Thompson is very good at playing imperious, and she even manages an unexpected trace of flirtiness in a few offhanded moments with Hanks.
    • 58 Metascore
    • 75 Peter Rainer
    Streep’s performance has been criticized for being too theatrical, but that’s off the mark: The character she’s playing is supposed to be theatrical. She’s a woman playing a part – the ravaged matriarch.
    • 72 Metascore
    • 75 Peter Rainer
    It’s a universal story that is also, by virtue of its very particular time and place, a singular experience.
    • 75 Metascore
    • 75 Peter Rainer
    The Invisible Woman at its best does justice to the complicatedness of its characters – just as Dickens did as a writer.
    • 73 Metascore
    • 75 Peter Rainer
    Despite the film’s emphasis on Ryota’s transformation, the most piercing moment for me came in the scene in which his wife anguishes over her guilt in not realizing right away, as a mother, that Keita was not her birth son.
    • 62 Metascore
    • 75 Peter Rainer
    I’ve never been able to figure out if Reggio is an artist or a con artist. Perhaps, in some ways, he’s both. He has claimed in interviews that he intended to make a movie about “the wonders of the universe.” Whatever he’s made, for better or worse, I’ve never seen anything quite like it.
    • 83 Metascore
    • 75 Peter Rainer
    Gloria is a starting-over story that never quite picks up a head of steam. Lelio paces the action as a series of sketches, and the hit-or-miss quality of the material makes for a bumpy ride.
    • 68 Metascore
    • 75 Peter Rainer
    It’s to Nathan’s credit that he doesn’t negate the allure of dirt-bike riding as an escape hatch from inner-city woes.
    • 56 Metascore
    • 75 Peter Rainer
    It’s all fairly entertaining and eminently disposable.
    • 75 Metascore
    • 75 Peter Rainer
    The film works best as a straightforward melodrama set in an anything but straightforward world.
    • 81 Metascore
    • 75 Peter Rainer
    I’m not sure that anybody coming to this film to witness her for the first time would necessarily pledge eternal allegiance. Still, she’s sui generis, and in the theatre world, as in life (yes, there is an overlap), that counts for a lot.
    • 68 Metascore
    • 75 Peter Rainer
    The movie doesn’t delve especially deeply into the psychology of double-agentry, and the shifting viewpoints between Israelis and Palestinians flattens the drama instead of broadening it.
    • 70 Metascore
    • 75 Peter Rainer
    If we must endure yet another spring-summer cycle of comic book superheroes, this movie at least delivers the wham-bang goods (recycled though they may be).
    • 66 Metascore
    • 75 Peter Rainer
    It’s a flurry of good gags and bad. The good ones are worth sitting around for.
    • 59 Metascore
    • 75 Peter Rainer
    Although the cast, which also includes Jennifer Jason Leigh and Christine Lahti in sharp cameos, is very good, Wiig’s performance is self-effacing to a fault. Like a lot of comic actors, she overcompensates in dramatic roles by wearing a very long face.
    • 79 Metascore
    • 75 Peter Rainer
    Jim Jarmusch has made a vampire movie, but, as you might expect, not just any old vampire movie. “Twilight” fans will not be amused, but Jarmusch’s usual coterie of art-film followers will likely find the movie his best in years.
    • 63 Metascore
    • 75 Peter Rainer
    He uses Vacth, a beauty who somewhat resembles the young Nastassja Kinski or Dominique Sanda, for her eerie, implacable hauteur. There is a mask behind her mask.
    • 53 Metascore
    • 75 Peter Rainer
    Overlong and repetitive as it is, The Amazing Spider-Man 2, at least delivers the goods.
    • 49 Metascore
    • 75 Peter Rainer
    Words and Pictures is a minor effort from Schepisi, but minor Schepisi still trumps most of what’s out there.
    • 69 Metascore
    • 75 Peter Rainer
    The ultimate feel-good movie about feeling bad. And within those limits, it succeeds all too well.
    • 72 Metascore
    • 75 Peter Rainer
    “Séraphine” was haunting; Violette, for all its writhings, is familiar.
    • 65 Metascore
    • 75 Peter Rainer
    Rossi investigates the increasing use of massive open online courses and other flexible programs and talks to such education experts as Columbia professor Andrew Delbanco.
    • 43 Metascore
    • 75 Peter Rainer
    Braff plays Aidan with easygoing exasperation and Hudson is better than I’ve seen her since “Almost Famous.” As a director, Braff touches on lots of Big Themes: mortality, marriage, fatherhood, the disillusion of dreams. Nothing quite comes to full boil, though.
    • 68 Metascore
    • 75 Peter Rainer
    I found it immensely touching that these women found it in themselves to keep plugging away. Despite everything, they ended their days with a measure of peace and happiness.
    • 73 Metascore
    • 75 Peter Rainer
    Hoffman, bloated and flushed, does not look well in this film. But he is such a consummate actor that whatever infirmities he may have been fighting become a part of his performance. His portrayal, complete with a convincing German accent, is a fully rounded portrait of courage and dissolution.
    • 54 Metascore
    • 75 Peter Rainer
    Woody Allen’s Magic in the Moonlight is a “serious” movie attempting to be lighthearted. It deals with the same issues that Allen’s idol, Ingmar Bergman, often grappled with – namely, the battle zone of reason versus mysticism – but offhandedly.
    • 64 Metascore
    • 75 Peter Rainer
    The implicit question overhanging the film: Is the political impetus to present only “positive” imagery of black people an injustice to the fullest range of their experience?
    • 52 Metascore
    • 75 Peter Rainer
    The material veers a bit too predictably from near farce to serioso dramatics but the trajectory here makes emotional sense.
    • 60 Metascore
    • 75 Peter Rainer
    What hits home is Renner’s performance, which gives full weight both to Webb’s fierce, abiding love for journalism and his despair when his livelihood – his reason for being – is trashed. It’s a tragedy, doubly so since the core of Webb’s allegations remains unchallenged today.
    • 76 Metascore
    • 75 Peter Rainer
    Too much of Wild is broken up by flashbacks that tend to dissipate rather than enhance Strayed’s trek. At times she is swallowed up almost to the point of vanishing by the immensity of the vistas.
    • 72 Metascore
    • 75 Peter Rainer
    It’s a strange movie – simultaneously rawly realistic and airbrushed.
    • 81 Metascore
    • 75 Peter Rainer
    A kind of companion piece to Altman’s “The Long Goodbye,” and it’s the sort of failure that only a director (Paul Thomas Anderson) of his talents could make – a movie about a stoner private eye (Joaquin Phoenix) in Los Angeles circa 1970 that seems to have been concocted in a stoned haze of its very own.
    • 94 Metascore
    • 75 Peter Rainer
    It’s a painfully uneven movie, but its best moments are ravishingly good.
    • 72 Metascore
    • 75 Peter Rainer
    Clint Eastwood’s second film this year, American Sniper, about the late Navy SEAL Chris Kyle, is considerably better than his first, “The Jersey Boys.” As a piece of direction, it’s as taut as anything he’s ever done.
    • 89 Metascore
    • 75 Peter Rainer
    The best thing about the movie is David Oyelowo’s performance as King. He doesn’t simply portray King; he inhabits him.
    • 79 Metascore
    • 75 Peter Rainer
    It’s a gangster movie that tries to be more than that, not always successfully. In his own small-scale way, Chandor wants to expand the reach of his vision to “Godfather” status, with Abel as his shining (tainted) knight.
    • 62 Metascore
    • 75 Peter Rainer
    A standout is Ben Mendelsohn’s Aussie nutcase.
    • 77 Metascore
    • 75 Peter Rainer
    If you’ve ever fantasized about busting up somebody’s nuptials, this movie is for you.
    • 68 Metascore
    • 75 Peter Rainer
    The saving grace of Queen and Country is that its nostalgia is not laced with sentimentality. Even working in this conventional mode, Boorman doesn’t try to strong-arm us into blubberiness.
    • 64 Metascore
    • 75 Peter Rainer
    For western fans, watching this movie is like encountering an old friend after a long absence.
    • 70 Metascore
    • 75 Peter Rainer
    The film targets the spinmeisters, hired by or associated with corporate interests, whose job, despite their lack of scientific training, is to discredit the science of climate change doomsayers. The fact that some of these spinmeisters proudly base their method on the machinations of tobacco-industry lobbyists is doubly damning.
    • 77 Metascore
    • 75 Peter Rainer
    An extension, temperamentally if not altogether thematically, of such earlier films of his as “The Squid and the Whale,” “Greenberg,” and “Frances Ha.”
    • 87 Metascore
    • 75 Peter Rainer
    The dense interweave of relationships, a Farhadi specialty, is continually compelling.
    • 78 Metascore
    • 75 Peter Rainer
    This is one of the few films that captures the complex intensity of the diva/personal assistant dynamic.
    • 72 Metascore
    • 75 Peter Rainer
    The film is too artsy for its own good, but it has some marvelous Coen Brothers-style black humor.
    • 71 Metascore
    • 75 Peter Rainer
    Although I Am Big Bird is no great shakes as a piece of filmmaking, and skews into treacly inspirational terrain, it’s still worth seeing to make the acquaintance of a man who, although he would probably be the last to say so, is an artist of the first rank. And a nice guy, too. What a rare combo.
    • 67 Metascore
    • 75 Peter Rainer
    From scene to scene The Connection is never less than watchable, although it is also never less than predictable.
    • 43 Metascore
    • 75 Peter Rainer
    The CGI effects in this film, directed by Brad Peyton, are quite remarkable and help take one’s mind off the cornball disaster-brings-families-together underpinnings.
    • 60 Metascore
    • 75 Peter Rainer
    What saves it all from being sordid is the open desire of the director, Gregory Jacobs, and his writer, Reid Carolin, to make sure the women in the film, not the male dancers, are ultimately the ones who are celebrated.
    • 67 Metascore
    • 75 Peter Rainer
    The script by Jeffrey Hatcher is overburdened with plot complications, but Bill Condon, who worked with McKellan on “Gods and Monsters,” has a real affinity for this actor’s capabilities. He brings out his best.
    • 59 Metascore
    • 75 Peter Rainer
    I wish the film, which is mostly a standard-issue talking-heads-and-clips affair, had showcased more of her performing, but what we see still justifies her fleeting fame.
    • 68 Metascore
    • 75 Peter Rainer
    Black Mass is like a playlist of greatest hits from other, better movies.
    • 78 Metascore
    • 75 Peter Rainer
    As a piece of filmmaking, Becoming Bulletproof is haphazard and overloaded with talking heads. But as a window into the lives of some of these actors, it’s often moving.
    • 80 Metascore
    • 75 Peter Rainer
    Entertaining as the movie often is, this all-American, can-do attitude is also the source of its shortcomings. Given the enormousness of its subject, there is a radical lack of awe in this movie.
    • 66 Metascore
    • 75 Peter Rainer
    The film basically upholds the verity of the news story while not condoning the sloppiness, and it’s worth seeing mostly for Cate Blanchett’s firebrand performance as Mapes, a battler consumed by righteousness.
    • 81 Metascore
    • 75 Peter Rainer
    Weary as I am of documentaries built around competitions, this one is charming because the three teens, especially the girls, are so radiantly intense about the sport.
    • 93 Metascore
    • 75 Peter Rainer
    It plays out all the usual tropes of the investigative-journalism genre – the hot tips, the clandestine meetings, the hand-wringing about ethics, etc. – without adding a jot of novelty.
    • 66 Metascore
    • 75 Peter Rainer
    The script is more functional than funny, and the animation, while adept, is not altogether memorable.
    • 71 Metascore
    • 75 Peter Rainer
    Marion Cotillard’s Lady Macbeth, however, is a triumph. She seems transfixed by her own capacity for evil, and her mad scene is one of the most unhistrionic, and therefore spookiest, ever filmed.
    • 81 Metascore
    • 75 Peter Rainer
    The actors play their roles to the hilt, but in the end, the role of these investors in extenuating the crisis they took advantage of is played down, as is the disastrous life consequences of all those who were severely hit by it.
    • 89 Metascore
    • 75 Peter Rainer
    Of course, on some level, no movie about this subject can fail to move us, and Son of Saul has its share of powerful sequences. I wanted it to be great, though, with a largeness of vision to match the awful immensity of its subject.
    • 72 Metascore
    • 75 Peter Rainer
    The film is often​ sharp and amusing, but it’s a doodle in the Coen canon.
    • 68 Metascore
    • 75 Peter Rainer
    The Wave, directed by Roar Uthaug, is pretty good. It’s also pretty strange. At least for American viewers – and Norwegians, too? – experiencing all these familiar disaster movie tropes in a Scandinavian setting, even on a relatively low budget, can be weirdly disorienting.
    • 59 Metascore
    • 75 Peter Rainer
    Given the high quotient of hypotheticals in the story line, Nixon & Elvis can’t really be said to add to the historical record, but it’s an entertaining, deadpan jape that, with a bit of tweaking, could probably work as a stage play.
    • 66 Metascore
    • 75 Peter Rainer
    A documentary about the alternately celebrated and reviled German-born philosopher who gave us the catchphrase “the banality of evil.”
    • 84 Metascore
    • 75 Peter Rainer
    What’s clear is that many of Weiner’s supporters within the mayoral campaign stuck with him only because of Abedin’s connection to the Clintons. Hey, it’s politics.
    • 76 Metascore
    • 75 Peter Rainer
    Writer-director Rebecca Miller never wrests her movie free of its associations with the films of Woody Allen and Noah Baumbach, and some of it plays like a generic indie film rom-com.
    • 77 Metascore
    • 75 Peter Rainer
    Princess, as a singer, is the real deal, with a throaty resonance that at times recalls Nina Simone. What Kutiman, whom she eventually meets in Israel, has given her is a newfound and miraculous platform for her talent.
    • 57 Metascore
    • 75 Peter Rainer
    Which is not to say the movie is anything less than diverting. It’s just that diverting is often all it is.
    • 66 Metascore
    • 75 Peter Rainer
    On its own limited terms, The Infiltrator, like its hero, delivers the goods.
    • 58 Metascore
    • 75 Peter Rainer
    Other welcome faces include Alicia Vikander as a CIA analyst who has a better bead on Bourne than her superiors; Julia Stiles, in a repeat appearance as the spy’s former contact; and Riz Ahmed as a Silicon Valley billionaire.
    • 80 Metascore
    • 75 Peter Rainer
    The documentary Gleason, a big Sundance hit, is difficult to watch – and that’s the point.
    • 78 Metascore
    • 75 Peter Rainer
    For a movie featuring so much emotional discord, Indignation has an overly cautious tone: It could have been made in 1951. I realize that this effect is largely intentional, but that doesn’t altogether excuse it.
    • 68 Metascore
    • 75 Peter Rainer
    The most interesting character in Imperium is not even Nate. It’s Gerry Conway (Sam Trammell), a seemingly normal family man who reads the great philosophers and loves the music of Brahms and Tchaikovsky, even making an exception for the recordings of Jewish maestro Leonard Bernstein. Terrorists come in all flavors.
    • 74 Metascore
    • 75 Peter Rainer
    There are many kinds of heroism, of course, but the version on display in Sully is, well, unsullied, and that sort of thing is more suitable for a monument than a movie.
    • 87 Metascore
    • 75 Peter Rainer
    The linkages between these mostly brief snippets is somewhat haphazard, but, given the waywardness of her travels, that’s appropriate.
    • 45 Metascore
    • 75 Peter Rainer
    The great Ennio Morricone, still going strong at 87, wrote the marvelous film score.
    • 73 Metascore
    • 75 Peter Rainer
    Well, it is shameless, and it tugs the heart in all the obvious places, but it has a winning vivaciousness and a trio of performances by its lead actors that transcend its “inspirational” niche.
    • 63 Metascore
    • 75 Peter Rainer
    It should all resemble a vanity project except for one thing: The film lays out the case for reform with steadfast rigor.
    • 99 Metascore
    • 75 Peter Rainer
    So few unexploitative movies are made about young black men, especially young black gay men, that the overpraise for this frail, sweet, discursive fantasia is understandable – and forgivable. It’s a beautiful film around the edges.
    • 72 Metascore
    • 75 Peter Rainer
    The film, some of which looks staged, is too slick, and its feminist emphasis, complete with Australian performer Sia singing “You can do anything” on the soundtrack, grates. But Aisholpan triumphs over these excesses.
    • 66 Metascore
    • 75 Peter Rainer
    The film is fine enough to make you forgive, if not forget, the fact that it exists primarily as a corporate enterprise and not as an imaginative tour de force.
    • 59 Metascore
    • 75 Peter Rainer
    This is a movie about how one’s passion can burn away and leave in its place a vast nostalgia.
    • 83 Metascore
    • 75 Peter Rainer
    Without Bening, whose performance is a watchful and laid-back marvel, 20th Century Women, written and directed by Mike Mills, would still be borderline worth seeing because of its supporting cast.
    • 63 Metascore
    • 75 Peter Rainer
    The strongest exchange in the film comes when he is confronted by several angry black activists who believe what he is doing is self-abasing and hurtful to the cause of civil rights. It is left for you to be the judge. I think he’s a hero. Every little bit helps.
    • 72 Metascore
    • 75 Peter Rainer
    Almodóvar is attempting to create a continuum of genres as well, one that particularly involves the traditional Hollywood “women’s picture” and film noir. That he doesn’t altogether succeed is perhaps due to the fact that Almodóvar is too enraptured by old movie conventions to give them a new life.
    • 74 Metascore
    • 75 Peter Rainer
    The story that Hidden Figures tells is so irresistible that you can almost forgive the fact that the movie itself is resistibly unoriginal. It’s an unabashed crowd-pleaser with a heavy history lesson undertow.
    • 79 Metascore
    • 75 Peter Rainer
    Silence, though conceived on a grand scale, is an almost obsessively personal, at times even private, film.
    • 61 Metascore
    • 70 Peter Rainer
    It's still possible to have a good time at this movie, and the primary reason is De Niro.
    • 77 Metascore
    • 70 Peter Rainer
    iIsn't really much more than a funny, touching little squiggle, but it has a bracing honesty and pays particular heed to the betweenness in people's lives, to how much goes on when nothing seems to be going on at all.
    • 49 Metascore
    • 70 Peter Rainer
    The hang-loose grodiness of these films has its charms, and the Ray-Banned team of Will Smith and Tommy Lee Jones, at its best, is good vaudeville.
    • 66 Metascore
    • 70 Peter Rainer
    She sometimes falls into the same trap that Lenny Bruce fell into, playing the taboo-breaking emancipator, but for the most part she's blessedly bawdy.
    • New York Magazine (Vulture)
    • 65 Metascore
    • 70 Peter Rainer
    If the bad guys in the real world were all this obvious, life would be a whole lot easier.
    • 58 Metascore
    • 70 Peter Rainer
    A lovely confection.
    • 72 Metascore
    • 70 Peter Rainer
    It all works on the level of a sprightly sitcom: lesbianism for the Lucy-and-Ethel crowd.
    • 69 Metascore
    • 70 Peter Rainer
    The usual Sayles mix of torpor and talent prevails here.
    • New York Magazine (Vulture)
    • 76 Metascore
    • 70 Peter Rainer
    By continually interrupting the sequences of the adult couple with scenes of the young pair, Eyre shatters the emotional power of Dench and Broadbent.
    • 77 Metascore
    • 70 Peter Rainer
    A loose-limbed documentary about the hip-hop D.J. scene that, for know-nothings like me, is highly informative without being in the least academic.
    • 68 Metascore
    • 70 Peter Rainer
    I'm all for films that don't flow from the usual Hollywood test tubes, but A Civil Action is basically the standard formula with a dash of downbeat.
    • 70 Metascore
    • 70 Peter Rainer
    Practitioners of Cajun, Creole, and zydeco music strut their stuff. So do the players of a style new to me but instantly beloved: I'm speaking of swamp pop.
    • 78 Metascore
    • 70 Peter Rainer
    del Toro blends agit-prop politics and ghoulishness without making the entire enterprise seem silly.
    • 64 Metascore
    • 70 Peter Rainer
    The stage is set for a wonderful movie, and yet The Luzhin Defence, based on the Vladimir Nabokov novel The Defense, never courts greatness.
    • 67 Metascore
    • 70 Peter Rainer
    I much prefer the whacked-out, Dr. Strangelove-ish brand of political-apocalypse film to all this straitlaced you-are-there dramaturgy, which seems a throwback to the early sixties not only in time but in spirit. But what Thirteen Days sets out to do it does admirably.
    • 73 Metascore
    • 70 Peter Rainer
    Complicated thriller that gets more interesting as its complications pile up.
    • 73 Metascore
    • 70 Peter Rainer
    At its most basic level, Cast Away is a graceful and powerfully rendered survivalist saga.... And yet there's something generic about Chuck's plight. The filmmakers don't opt for the usual happy-face Hollywood ending, but even the half-smile they provide smacks of inspirationalism.
    • 70 Metascore
    • 70 Peter Rainer
    Pleasingly shaggy.
    • 85 Metascore
    • 70 Peter Rainer
    In The Circle, which is banned in Iran, the enforced society of women is, in effect, a community of adults treated as children.
    • 65 Metascore
    • 70 Peter Rainer
    In political terms, True Crime is a far cry from "Dirty Harry" -- it actually stands up for due process of law. In Hollywood, I believe this is known as mellowing.
    • 78 Metascore
    • 70 Peter Rainer
    His (Aoyama) existential odyssey is so attenuated and aloof that he turns suffering into an art thing.
    • 72 Metascore
    • 70 Peter Rainer
    In the scenes between Hanks and Newman, we get glimpses of greatness.
    • 75 Metascore
    • 70 Peter Rainer
    Evans, in effect, is the real producer here, and the film, which mostly consists of artfully blended archival footage, comes across like a last will and testament.
    • 67 Metascore
    • 70 Peter Rainer
    Costner is always at his best when he’s a little ornery, and Duvall is the same way. His grizzled performance is so thoroughly in character that he even chews as if it were 1882.
    • 64 Metascore
    • 70 Peter Rainer
    At its best in the interludes between explosions.
    • 69 Metascore
    • 70 Peter Rainer
    More entertaining than it has a right to be. It's pulpy and preposterous, and yet it gets at a real truth.
    • 74 Metascore
    • 70 Peter Rainer
    Arkin has a great and gentle feeling for small-time malcontents, and he knows how to make their woes our own. He does justice to the human comedy -- and redeems the movie.
    • 59 Metascore
    • 70 Peter Rainer
    It's a pure (guilty) pleasure trip. That's pleasure, De Palma–style -- twisted, dirty, voyeuristic, a vast glissando of amorality.
    • 69 Metascore
    • 70 Peter Rainer
    Jeunet wants us to know that times are hard for dreamers and that one shouldn't pass up a chance for true love. He means it, no doubt, but he doesn't have the simplicity of soul to quite bring off the sentiment. Still, we're charmed by the attempt.
    • 79 Metascore
    • 70 Peter Rainer
    Rivette keeps the life-is-a-play metaphysics to a minimum, and the cast, including Jeanne Balibar and Sergio Castellitto, is attractive.
    • 45 Metascore
    • 70 Peter Rainer
    The emotional resolutions aren't pat, exactly. But they're not messy either, and for material this inherently volatile, that seems like a cheat.
    • 76 Metascore
    • 70 Peter Rainer
    Reygadas is both a sophisticate and a primitive: He sets up his film as a religious allegory, with the nameless painter as a kind of suffering Christ and the old woman--whose name is Ascen, as in Ascension--as his redeemer.
    • 56 Metascore
    • 70 Peter Rainer
    Max
    Noah Taylor does startlingly well by this role, but the conceit behind the film is a bizarre piece of wish-fulfillment.
    • 57 Metascore
    • 70 Peter Rainer
    Great on atmosphere and less good on everything else. That’s not entirely a knock.
    • 76 Metascore
    • 70 Peter Rainer
    Breezily enjoyable but thin.
    • 70 Metascore
    • 70 Peter Rainer
    Hoffman has his specialty, though, and it’s not inappropriate here: He always looks supersmart and yet his reactions to what goes on around him are superslow.
    • 74 Metascore
    • 70 Peter Rainer
    Has some rapturously observant sequences concerning childhood.
    • 61 Metascore
    • 70 Peter Rainer
    Tends to settle for easy, homiletic insights. But it also has a collection of first-rate performances by some marvellous actresses.
    • 58 Metascore
    • 70 Peter Rainer
    As a technical achievement, K-19 is right up there with Das Boot. Don't expect much dramatic depth, though. The fathoms descended in this movie are strictly nautical.
    • 57 Metascore
    • 70 Peter Rainer
    Powerful, uneven police drama.
    • 80 Metascore
    • 70 Peter Rainer
    One of the glummest and most forbidding thrillers ever.
    • 86 Metascore
    • 70 Peter Rainer
    As with much of Soderbergh's avant-garde work, his garde isn't quite as avant as he would have us believe it is. Still, Soderbergh's jazzed stylistics can be smartly entertaining. Without them, an uneven movie like Traffic might seem more of a mélange than it already is.
    • 80 Metascore
    • 70 Peter Rainer
    In this otherwise rather schematic swatch of social catharsis, Brazil's Fernanda Montenegro gives the best performance by an actress I've seen all year.
    • 78 Metascore
    • 70 Peter Rainer
    The best thing about Insomnia is that despite director Christopher Nolan's soft spot for moody-blues obfuscation, he has the good sense to keep his star in practically every shot.
    • 86 Metascore
    • 70 Peter Rainer
    A prime piece of whirlybird filmmaking, and the technique saps what might have been a powerful experience.
    • 77 Metascore
    • 70 Peter Rainer
    Eminently disposable, but that's its charm. It stays with you just long enough to make you smile.
    • 80 Metascore
    • 70 Peter Rainer
    Entertaining documentary.
    • 75 Metascore
    • 70 Peter Rainer
    As in many a French movie, especially crime movie, the philosophe and the crook turn out to be each other’s mirror image.
    • 79 Metascore
    • 70 Peter Rainer
    Mamet doesn't take the material as far as it can go -- we're left with a pleasing fable about the battle of the sexes and the virtues of persistence in a just cause. The neatness of it all is both appealing and appalling, and perhaps this combo is what finally hooked Mamet.
    • 62 Metascore
    • 70 Peter Rainer
    Caine is burlesquing his own iconography and enjoying every minute of it. He hasn't lost his dignity, though; it takes a lot of self-possession to act this blissfully silly. He even looks good with bad teeth.
    • 66 Metascore
    • 70 Peter Rainer
    Every generation has to discover the same clichés that were drummed into previous generations, and kids could do worse than to learn them from this film.
    • 72 Metascore
    • 70 Peter Rainer
    Stunning, and it has the added bonus of being about an era that is virtually new to movies. As a dramatic achievement, however, it is not quite so amazing.
    • 73 Metascore
    • 70 Peter Rainer
    Disney's Lilo & Stitch, which is animated in the traditional way, with watercolor backgrounds, is lovely, and funny, too. It owes a great deal to Japanese anime, but there's also a "Looney Tunes" friskiness to it that's distinctively homegrown.
    • 61 Metascore
    • 70 Peter Rainer
    An ungainly, intermittently harrowing omnibus filled with moments of piercing sorrow and rage.
    • 51 Metascore
    • 70 Peter Rainer
    Noé shoots his sequences in long, unbroken takes, and the unblinking horror that results is, I think, the opposite of exploitation. There has been so much lurid bloodletting in the movies that you might think nothing could faze us anymore. Think again.
    • 83 Metascore
    • 70 Peter Rainer
    A kind of psychological whodunit, but without the thrills. The clue-making is rather desultory, as if Cronenberg were indulging a narrative strategy he didn’t really care for.
    • 70 Metascore
    • 70 Peter Rainer
    Freaky Friday gives Curtis the chance to go all goofy and showcase her gift for splayed physical comedy.
    • 72 Metascore
    • 70 Peter Rainer
    Watching this movie, you get the feeling that the Depression existed so that Seabiscuit could be memorialized.
    • 82 Metascore
    • 70 Peter Rainer
    Parts of this film are as blandly lulling as a mood tape, but at best it’s a literally soaring experience.
    • 66 Metascore
    • 70 Peter Rainer
    Cory Yuen's So Close is a kind of Hong Kong martial-arts variation on the Charlie's Angels movies, only better.
    • 75 Metascore
    • 70 Peter Rainer
    Excruciatingly vivid.
    • 69 Metascore
    • 70 Peter Rainer
    A fine example of what a filmmaker can achieve when she takes on a great subject and lets it play out with all the respect and attention it deserves.
    • 81 Metascore
    • 70 Peter Rainer
    The director of "Gallipoli" and "The Year of Living Dangerously" has muffled the rage and darkness of his best work in favor of an antiquated pleasingness. Master and Commander is a too-comfy classic.
    • 73 Metascore
    • 70 Peter Rainer
    Cold Mountain has some marvelous, intimate moments and a real feeling, at times, for the loss that war engenders, but it also has more than its share of hokum--which would be more entertaining if the hokum were juicier.
    • 54 Metascore
    • 70 Peter Rainer
    Keys takes a scattershot approach to Cuban music, filming not only specific artists, like Los Cohibas and Los Zafiros, but also street musicians in the barrio and just about everywhere else he can find them.
    • 78 Metascore
    • 70 Peter Rainer
    A pretty good documentary about a great subject.
    • 56 Metascore
    • 70 Peter Rainer
    It’s both lowdown and effete, a jamboree of whoopee jokes and sick wit.
    • 76 Metascore
    • 70 Peter Rainer
    For all its high-end ambitions, This So-Called Disaster has a tabloid-TV-like appeal: We want to see if these volatile performers get on each other's nerves.
    • 66 Metascore
    • 70 Peter Rainer
    A smart little teen picture that, for a change, actually features recognizable teens.
    • 78 Metascore
    • 70 Peter Rainer
    Too much of this fantasy is filled out with artsy folderol, but it's a movie like no other--except, maybe, one by Guy Maddin.
    • 65 Metascore
    • 70 Peter Rainer
    What unites everything is Jarmusch’s playful, hang-dog absurdism.
    • 55 Metascore
    • 70 Peter Rainer
    It’s an odd fable: Viktor is the mysterious visitor who shows us what the American Dream is all about--in the movie’s terms, compassion for others--without ever wanting to become an American himself. He's a spiritual twin to E.T., who also had trouble phoning home.
    • 67 Metascore
    • 70 Peter Rainer
    More often than not, Moore goes for the guffaw, and as enjoyable as that can be, it falls short of producing the kind of devastating, in-depth analysis that might really challenge the hearts and minds of ALL audiences, left and right. At the very least, this approach undercuts the effectiveness of Moore’s own case.
    • 83 Metascore
    • 70 Peter Rainer
    The set pieces, such as an unmasked Spider-Man trying to stop a runaway subway car, are furiously scary, and compensate for all the icky mooning and moping that Peter does whenever he's questioning his gift, which is most of the time.
    • 59 Metascore
    • 70 Peter Rainer
    Cunningham's depth of feeling transformed the book's premise into something beyond sniggers or camp, and the best moments in the movie, which was directed by theater veteran Michael Mayer in his film debut and adapted by Cunningham, have a similar emotional charge.
    • 44 Metascore
    • 70 Peter Rainer
    The Village is a better movie (than Signs) --probably his best since "The Sixth Sense"--but it indulges Shyamalan's penchant for messianic uplift.
    • 67 Metascore
    • 70 Peter Rainer
    The film was adapted from a 1993 novel by Robert Bober, who drew on his own childhood experiences, and as it unwinds, one begins to appreciate Deville's desire to see things work out well for these people.
    • 85 Metascore
    • 70 Peter Rainer
    So deliriously chockablock with high-flying, color-coordinated fight scenes that non-aficionados may find it all a bit bewildering--a gorgeous abstraction. It sure is gorgeous, though, and it has a dream cast
    • 61 Metascore
    • 70 Peter Rainer
    Taut and straightforward and a little grungy, which is how these movies ought to be.
    • 64 Metascore
    • 70 Peter Rainer
    Crudup, whose features have the appropriate delicacy, plays Ned with complete conviction; it’s difficult to imagine anyone else succeeding as well.
    • 64 Metascore
    • 70 Peter Rainer
    Eastwood's earnestness has its own stoic charm. There's something nutty but also heroic in how he plays this macho-man-with-the-heart-of-a-woman premise with a straight face.
    • 67 Metascore
    • 70 Peter Rainer
    Our familiarity with the actors, and their comfort in this period setting, lend the piece an unexpected air of naturalism.
    • 63 Metascore
    • 70 Peter Rainer
    In a confused world, this is a movie with answers.
    • 75 Metascore
    • 70 Peter Rainer
    It can't compare to what might have been: a full-scale performance by Daniel Day-Lewis as an Irish raging bull--a rebel with a cause. There are still traces of greatness in what he attempts, and it's more than enough to make the movie worth a lingering look.
    • 59 Metascore
    • 70 Peter Rainer
    The Lost World is a smoother, scarier ride than its predecessor, with twice as many dinosaurs twice as well designed eating twice as many people...But he's not particularly playful with his terrors here, and that's a disappointment coming from a filmmaker who can mix scares and laughs the way no one else ever has.
    • 55 Metascore
    • 70 Peter Rainer
    Watching this film is a little bit like getting mauled and tickled at the same time. The filmmakers have given the whole shebang a hefty levity, and that's not easy to accomplish in a full-scale disaster movie.
    • 82 Metascore
    • 70 Peter Rainer
    Face/Off wouldn't work without two great actors, and it doesn't always work with them. But their gifts justify the whole loony enterprise.
    • 76 Metascore
    • 70 Peter Rainer
    A true killing comedy would require a great deal more sophistication than first-time writer-director Peter Duncan brings to the party. He hasn't made a black comedy, really; it's more like a black spoof.
    • 70 Metascore
    • 70 Peter Rainer
    It's a film enthralled by its own lower depths… Although Bad Lieutenant is structured as a redemptive thriller, it functions primarily as a freak show with religioso overtones. [30 Dec 1992, Calendar, p.F-7]
    • Los Angeles Times
    • 76 Metascore
    • 70 Peter Rainer
    Their instincts as filmmakers override their instincts as moralizers. Menace II Society is best--and most shocking--when it just sets out its horrors and lets us find our own way. [26 May 1993, Calendar, p.F-1]
    • Los Angeles Times
    • 77 Metascore
    • 70 Peter Rainer
    There's nothing much to the movie, except for the amiability of the actors and the layers of feeling Linklater provides, but that's just almost enough.
    • 66 Metascore
    • 70 Peter Rainer
    Russell is unusual among first-time directors in his ability to mold and shape performance. [28 Jul 1994 Pg. F2]
    • Los Angeles Times
    • 70 Metascore
    • 70 Peter Rainer
    It's sweet and winsome and a little pat, done with just enough feeling to lift it out of its class. [15 Mar 1995, Pg.F5]
    • Los Angeles Times
    • 72 Metascore
    • 70 Peter Rainer
    The point of this film seems to be that wholesomeness is a sign of maturity, and it partially cancels out the performers. Juliet Stevenson breaks through anyway. She has a charged core, like Judy Davis, and she makes you root for her passage to happiness. [8 May 1991, p.6]
    • Los Angeles Times
    • 73 Metascore
    • 70 Peter Rainer
    Its stars, Paul Newman and Joanne Woodward, are on screen virtually all of the time, and they're always worth watching. But the film puts such a premium on tastefulness that it never threatens to become exciting. [23 Nov 1990]
    • Los Angeles Times
    • 55 Metascore
    • 70 Peter Rainer
    Party Girl has the courage of its own no-braininess.
    • 81 Metascore
    • 70 Peter Rainer
    When something heartfelt occurs in this movie, you accept it without too much squirming. The disciplined yet intuitive way in which these actors connect is a model of ensemble performance.
    • 87 Metascore
    • 70 Peter Rainer
    For most of the way, One False Move is taut and sure-footed.
    • 90 Metascore
    • 70 Peter Rainer
    A movie like Ben-Hur, while almost never stirring or imaginative in the way that the true epics of Griffith or Gance or Kurosawa are, nevertheless has a basic appeal.
    • 30 Metascore
    • 67 Peter Rainer
    The young cast members, including Justin Long and Ryan Reynolds, are often spirited and funny, and restaurantgoers are left with a valuable lesson.
    • 68 Metascore
    • 67 Peter Rainer
    Harrelson does his considerable best to redeem the hackneyed role of the dreamboat do-gooder. No matter how conventional his roles may be, he always gives them a feral quality, an eccentricity, that lifts them out of the ordinary.
    • 80 Metascore
    • 67 Peter Rainer
    The uneven Nine Lives has an impressive cast, but the best section features the great Mexican actress Elpidio Carrillo as a prison inmate kept from her child.
    • 58 Metascore
    • 67 Peter Rainer
    Frankly, the most disturbing thing about Prime is that Uma Thurman is now officially an Older Woman.
    • 58 Metascore
    • 67 Peter Rainer
    Despite all the heavy artistic artillery Mendes has brought to bear, his movie isn't all that far removed conceptually from "Top Gun" - which was also about military men itching for a chance to rock 'n' roll. The only difference is, "Top Gun" was unabashedly a popcorn movie while Jarhead is a box of unpopped kernels passing itself off as a full meal.
    • 53 Metascore
    • 67 Peter Rainer
    Now that it is at last on screen, my reaction is ... what's all the fuss?
    • 44 Metascore
    • 67 Peter Rainer
    As the depraved John Wilmot, the second Earl of Rochester, Johnny Depp adds yet another sly sleazoid to his burgeoning portrait gallery.
    • 76 Metascore
    • 67 Peter Rainer
    Syriana falls down at the most basic storytelling level, and this incoherence damages even the good parts.
    • 66 Metascore
    • 67 Peter Rainer
    The best, and perhaps the only, reason to see Duncan Tucker's Transamerica is for Felicity Huffman's touching, shape-shifting performance.
    • 70 Metascore
    • 67 Peter Rainer
    Melvin Van Peebles gets the idolatrous treatment in this documentary by first-time director Joe Angio that traces his subject's career as San Francisco cable-car conductor, rap pioneer, filmmaker, Broadway producer, stockbroker, and all-around womanizer.
    • 64 Metascore
    • 67 Peter Rainer
    An actress named Moon Bloodgood, who started out as a hip-hop dancer and Laker Girl before getting into movie and TV work, plays a bush pilot and sometime girlfriend of Jerry's. The role is bland but that name is great.
    • 43 Metascore
    • 67 Peter Rainer
    If Freedomland reminds you of Spike Lee's "Clockers," that's not by accident. Like that film, it's adapted by Richard Price from his novel and is set in the neighboring Northern New Jersey communities of Dempsy, predominantly poor and African-American, and the largely white blue-collar suburb of Gannon.
    • 56 Metascore
    • 67 Peter Rainer
    The film is meandering and highly uneven, but Robert Downey Jr. is truly oddball as a venomous drama critic, and watching that ball once again roll through Bill Buckner's legs is torture (for Red Sox fans anyway).
    • 65 Metascore
    • 67 Peter Rainer
    Most Mafia movies are unduly sympathetic, but this one takes the cake. Peter Dinklage is excellent as the mob's chief lawyer.
    • 55 Metascore
    • 67 Peter Rainer
    Judged on any kind of rational level, this film is a mess, and Fairuza Balk, as a punky friend of Howard's son, gives the single most annoying performance I have ever seen. But Franz Lustig's cinematography has a Walker Evans-like power.
    • 76 Metascore
    • 67 Peter Rainer
    In Sidney Lumet's "Dog Day Afternoon," which only looks better with the years, New York was as much a character in that film as its people. It was a movie that took its cue from the energy of the city. The Inside Man takes its cue mostly from other movies.
    • 62 Metascore
    • 67 Peter Rainer
    Blethyn, as Frank's wife, is less high-strung than usual, which is a boon.
    • 57 Metascore
    • 67 Peter Rainer
    The best reason to check the film out is Ejiofor's performance, which is packed with grace and wit and pathos.
    • 64 Metascore
    • 67 Peter Rainer
    Gretchen Mol is unrelentingly charming in the role and she almost - almost - makes you believe that someone as unclouded as this could actually exist. This film would go well on a double bill with "The Stepford Wives."
    • 64 Metascore
    • 67 Peter Rainer
    The best parts of the movie are its occasional animated sequences.
    • 47 Metascore
    • 67 Peter Rainer
    What keeps the film watchable, aside from the vibrant musical numbers in the nightclub, is Garcia's obvious love for the Cuba of his ancestors, of his dreams. A lot goes wrong in this overlong movie, but it has a human touch.
    • 54 Metascore
    • 67 Peter Rainer
    Art School Confidential mostly just makes you feel bad - period. It puts you in a foul mood and leaves you there.
    • 58 Metascore
    • 67 Peter Rainer
    I suppose it's asking too much of Ratner to impart some kind of visionary flourish to the proceedings. But without it, these comic-book movies all tend to look the same.
    • 62 Metascore
    • 67 Peter Rainer
    May be accurate around the edges, but at its heart it's a fairy tale.
    • 53 Metascore
    • 67 Peter Rainer
    The movie's gross-out effects are impressive but wearying. How apt that the director's name is Gore.
    • 66 Metascore
    • 67 Peter Rainer
    When Cohen and Ferrell are eyeing each other, you never saw a loopier pair.
    • 62 Metascore
    • 67 Peter Rainer
    The actors, who portray a reunion that is more sparring match than love fest, strike occasional sparks.
    • 68 Metascore
    • 67 Peter Rainer
    An overly stately affair that often substitutes production values for imagination.
    • 43 Metascore
    • 67 Peter Rainer
    If a movie that uses the word "relationship" 7,000 times puts your teeth on edge, stay away.
    • 68 Metascore
    • 67 Peter Rainer
    Compared to "Capote," this new film is altogether lighter.
    • 69 Metascore
    • 67 Peter Rainer
    Messrs. Iñárritu and Arriaga have played this card one too many times. If they really want to appear radical the next time out, my advice is: Tell a single story and tell it well. What a concept.
    • 49 Metascore
    • 67 Peter Rainer
    There's something foul about staging the assassination of a sitting president in order to push a political agenda that could just as easily have been put forward without resorting to such sensationalism.
    • 47 Metascore
    • 67 Peter Rainer
    Because Crowe is hamstrung by his role, he never strikes the requisite sparks with Cotillard. This is quite an achievement, since her beauty is on par with Provence's.

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