For 2,403 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 4.5 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 At Berkeley
Lowest review score: 0 She Hate Me
Score distribution:
2403 movie reviews
    • 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.
    • 65 Metascore
    • 70 Peter Rainer
    It's a B-movie with A-accouterments.
    • 68 Metascore
    • 70 Peter Rainer
    Given the temptations to goof it up, Pesci's performance in My Cousin Vinny is something of a triumph. As Vincent Gambini, a swaggering pint-sized New York lawyer who only recently passed the bar on his sixth try, Pesci modulates his usual psycho-nuttiness and gives it some recognizably human, even melancholy, undertones. The movie is a very mixed bag, but it's not quite the dumb fest that the TV spots make it out to be. Pesci gives Vinny's ultimate vindication a note of bittersweet triumph.
    • 63 Metascore
    • 70 Peter Rainer
    Some of the gags are side-splitters, some just sit on the screen. But the film would have to be a great deal worse to prevent Naked Gun die-hards from lining up. [18 Mar 1994, p.F6]
    • Los Angeles Times
    • 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.
    • 67 Metascore
    • 67 Peter Rainer
    Like Jim Carrey, Ferrell seems to think that the way to be taken seriously as a dramatic actor is to drain himself of everything that audiences love about him.
    • 52 Metascore
    • 67 Peter Rainer
    Much more silly than romantic.
    • 49 Metascore
    • 67 Peter Rainer
    Garner is good, and so is Brian Dennehy as a crusty ranch owner; Abigail Breslin, playing a leukemia patient, demonstrates that she was not a one-note wonder in "Little Miss Sunshine."
    • 55 Metascore
    • 67 Peter Rainer
    Whether this is all a case of life imitating art or vice versa matters little. Few of these movies aspire to art. What counts is the trajectory of uplift.
    • 72 Metascore
    • 67 Peter Rainer
    Director Alexandra Lipsitz doesn't do much more than chronicle the noise, but it's intermittently fun stuff.
    • 31 Metascore
    • 67 Peter Rainer
    Perfect Stranger is far from Hitchcock, and Berry, although she gets an A for effort, can't do much with the half-baked characterizations.
    • 60 Metascore
    • 67 Peter Rainer
    Travolta gives a hangdog performance as the world-weary cop obsessed with rooting out the killers. Hayek and Leto share a few tart black comic moments as the film spirals into a bloodbath.
    • 59 Metascore
    • 67 Peter Rainer
    Far from a flop, and I'm sure the Spider-maniacs will eat it up. For me, it's a buffet without much aftertaste.
    • 52 Metascore
    • 67 Peter Rainer
    Hartley is very adept with actors, though – or at least some of them. Posey, for her part, displays a pert quizzical quality that's very charming and very funny. And Goldblum is tailor-made for Hartley's minimalist patter.
    • 50 Metascore
    • 67 Peter Rainer
    Depp and Rush are still in there plugging away. They’re troupers, but the series is all used up. If there is to be another sequel it will have to be called "Pirates of the Caribbean – At Wit's End."
    • 62 Metascore
    • 67 Peter Rainer
    It's a modest film in most respects, but Albert Finney as Alfie is a man of great importance indeed, reminding us again that he's one of the most towering talents in film today.
    • 45 Metascore
    • 67 Peter Rainer
    As summer franchise superhero flicks go, it's tolerable.
    • 72 Metascore
    • 67 Peter Rainer
    It's all a lot closer to melodrama than drama, but Thalbach is a dynamo.
    • 64 Metascore
    • 67 Peter Rainer
    Too much of Sunshine is like a cross between a middling "Alien" movie and "Solaris" (the woozy Steven Soderbergh version).
    • 55 Metascore
    • 67 Peter Rainer
    It's movie-making as match-making.
    • 44 Metascore
    • 67 Peter Rainer
    Ratner, who has been accurately dubbed a "fauxteur," does an OK job keeping the action swirling, especially in the finale atop the Eiffel Tower.
    • 45 Metascore
    • 67 Peter Rainer
    At times this indie is as repetitive and self-indulgent as its protagonist, but it captures a bit of the madness of being unrequitedly in love.
    • 55 Metascore
    • 67 Peter Rainer
    By skewing the film into a father-son inspirational saga, the filmmakers sell out the best possibilities in their material. Lurie clearly wants Resurrecting the Champ to be "more" than a sports movie, or a newspaper movie. Ironically, he ends up with less.
    • 56 Metascore
    • 67 Peter Rainer
    Taymor's flower-powery phantasmagoria is ambitious but ultimately tiresome.
    • 82 Metascore
    • 67 Peter Rainer
    Cronenberg has a distinctive style – deadpan absurdism laced with fright and all executed with slow deliberation. But too much of Eastern Promises is cultish and silly.
    • 65 Metascore
    • 67 Peter Rainer
    As the movie moves through its murder mystery mode and begins racking up political points, Hank becomes a stand-in for all those Americans bewildered and beleaguered by the war. He becomes a Symbol.
    • 51 Metascore
    • 67 Peter Rainer
    Most of the love in Feast of Love is unrequited, untapped, or unfulfilled. The fine cast, which includes Jane Alexander, Selma Blair, and Radha Mitchell, is also somewhat underused.
    • 56 Metascore
    • 67 Peter Rainer
    The filmmakers's attempts to balance out the gung-ho shoot-'em-ups with an overlay of "fairness" are rudimentary. The movie works us into a frenzy of righteous revenge, it makes us cheer each kill by the FBI warriors, and then it tells us that this violence only breeds more violence.
    • 61 Metascore
    • 67 Peter Rainer
    Set in Japanese-occupied Shanghai during World War II, Ang Lee's uneven new film is a bit like a Chinese variant on Paul Verhoeven's "The Black Book." The sex scenes in this otherwise overly prim period piece are extremely graphic.
    • 82 Metascore
    • 67 Peter Rainer
    Without the steadfast intelligence of Clooney's performance, Michael Clayton wouldn't work half as well as it does.
    • 65 Metascore
    • 67 Peter Rainer
    Smith, it should be noted, has compared Neville in interviews to Job. Tone down the highfalutin references. In the end, this is a sci-fi zombie movie, folks.
    • 49 Metascore
    • 67 Peter Rainer
    What we get are themes and variations on previous good work, to lessening effect.
    • 68 Metascore
    • 67 Peter Rainer
    There is a great movie to be made about the first stirrings of rock 'n' roll. Honeydripper is not that film, but it certainly whets your appetite for it.
    • 67 Metascore
    • 67 Peter Rainer
    Writer-director Cao Hamburger works well with child actors and has a spare, unforced style. But too much of this film is desultory and thin.
    • 65 Metascore
    • 67 Peter Rainer
    A faltering attempt at black comedy mixed with romantic melodrama, Married Life is always on the verge of being interesting but never quite gets there.
    • 59 Metascore
    • 67 Peter Rainer
    The filmmakers are smart enough – or cynical enough – to realize that we don't watch movies like Under the Same Moon in order to be surprised. We go to them for a good cry.
    • 61 Metascore
    • 67 Peter Rainer
    What we're left with is outrage in a vacuum. It's impossible to separate out the stop-loss tactic from the misadventures of the war itself, and that's what this film, to its discredit, accomplishes.
    • 66 Metascore
    • 67 Peter Rainer
    My only regret is that the film could not somehow take a leap forward to 1988. I would love to have seen what Lee and Will could do with "Die Hard."
    • 64 Metascore
    • 67 Peter Rainer
    Some of the set pieces are ravishing, more often they're ravishingly clunky.
    • 55 Metascore
    • 67 Peter Rainer
    Turn the River becomes a standard fatalistic misfits-on-the-run movie with more than its share of improbabilities. It's as if Eigeman didn't realize how good the best parts of his film were, and so went ahead and trashed them.
    • 53 Metascore
    • 67 Peter Rainer
    At times, the movie resembled nothing so much as Kabuki with Cosmos.
    • 73 Metascore
    • 67 Peter Rainer
    We are treated to all manner of worshipy recollections from a stable of Thompson's admirers, including, believe it or not, Patrick Buchanan and James Baker. Who said gonzo politics doesn't make for strange bedfellows?
    • 66 Metascore
    • 67 Peter Rainer
    Like much reality TV, sections of American Teen seem patently staged, or coached, for the camera.
    • 56 Metascore
    • 67 Peter Rainer
    Was Maher afraid he might muddy his clownish jape if he actually brought into the mix a learned theologian?
    • 64 Metascore
    • 67 Peter Rainer
    The conceit here is that if a boy and a girl love the same music, that means they're in love. Who am I to argue with such poetic whimsy?
    • 69 Metascore
    • 67 Peter Rainer
    Like all too many docs these days, it chronicles a contest while caricaturing the contestants.
    • 63 Metascore
    • 67 Peter Rainer
    Eastwood gets all noirish for us but, like Jolie's performance, there's a rote quality to it all. Even the mournful little ditties that Eastwood composed for the soundtrack seem canned.
    • 86 Metascore
    • 67 Peter Rainer
    The entire film has the glibness of a music video. Boyle has managed to make dire poverty seem glossy.
    • 81 Metascore
    • 67 Peter Rainer
    A heavy dose of corn syrup. Director Darren Aronofsky's herky-jerky, hand-held camera stylistics have a veneer of verity, but don't be fooled. This pastiche, written by Robert Siegel, is purest Hollywood.
    • 68 Metascore
    • 67 Peter Rainer
    At worst is inoffensive. But that's the point. When you're making a movie about people whose lives are torn up in this way, inoffensiveness is, well, offensive.
    • 63 Metascore
    • 67 Peter Rainer
    Jenkins has an admirable feeling for, as the French would say, mise en scène, and a gift for placing actors in naturalistic settings. What he lacks at this point is a strong story sense.
    • 80 Metascore
    • 67 Peter Rainer
    Director Henry Selick is all too effective at conjuring grody ghastliness. He's less effective at giving that ghastliness a human dimension, a resonance, a reason for being beyond cheap thrills.
    • 52 Metascore
    • 67 Peter Rainer
    What it's mainly about is movie stars skittering from locale to locale while bullets whiz by and the plot thickens – or, more to the point, curdles.
    • 48 Metascore
    • 67 Peter Rainer
    An OK action film, but only the humorless will find it heretical – or educational.
    • 61 Metascore
    • 67 Peter Rainer
    The best thing to come out of Sunshine Cleaning is the confirmation that Adams, one of Hollywood's most delightful comediennes, is also capable of piercing drama.
    • 40 Metascore
    • 67 Peter Rainer
    The film is deliberately old-fashioned in its approach; the story line is resolutely linear and the production values are deluxe. It all makes for a fairly enjoyable, if schematic, backstage extravaganza.
    • 54 Metascore
    • 67 Peter Rainer
    The movie, starring Rogen as a mall cop with anger management issues, is essentially a goony romp flecked with disturbing eruptions of violence.
    • 68 Metascore
    • 67 Peter Rainer
    This love letter to Valentino from director Matt Tyrnauer seems intended for the already smitten.
    • 66 Metascore
    • 67 Peter Rainer
    There are many things wrong with Julie and Julia but, if you're looking to get hitched, you won't find a better booster.
    • 76 Metascore
    • 67 Peter Rainer
    Because we know almost from the get-go that things will turn out bad-to-bittersweet for them, the movie is like one long autopsy of what went wrong, starting with Day No. 488.
    • 55 Metascore
    • 67 Peter Rainer
    Lee has always had an affinity for innocence and an abiding affection for outcasts, and both traits serve him well in Taking Woodstock -- but only up to a point. Beyond that point, where sanctification meets reality, the film floats up, up, and away.
    • 60 Metascore
    • 67 Peter Rainer
    Not quite funny enough, or serious enough, falls into the muddle middle.
    • 58 Metascore
    • 67 Peter Rainer
    The film's one extraordinary aspect, which makes it well worth seeing despite its carefully coiffed shagginess, is Maya Rudolph's performance.
    • 70 Metascore
    • 67 Peter Rainer
    Could have used a lot more grit. Without it, we're left with a crime movie fantasia that slips all too easily into the ether.
    • 55 Metascore
    • 67 Peter Rainer
    Whereas the original, directed by Joseph Sargent, was essentially a well-oiled B movie, the new incarnation, directed by Tony ("Enemy of the State") Scott, is bristling with high-tech gimcrackery and over-the-top camera flourishes.
    • 59 Metascore
    • 67 Peter Rainer
    Although his movie often resembles the kind of promotional video one might find as an extra on a concert DVD, N'Dour in full throttle is a sight, and sound, to behold.
    • 69 Metascore
    • 67 Peter Rainer
    No one else in Inglourious Basterds comes close to Landa for sheer charisma.
    • 54 Metascore
    • 67 Peter Rainer
    It's all kind of silly and amorphous, but the scenes between Yi and Cera, whether or not they were scripted, have a babes-in-the-wood loveliness.
    • 74 Metascore
    • 67 Peter Rainer
    Anonyma stands out in A Woman in Berlin not only because of her ragged nobility but also because, alas, Färberböck has surrounded her with a gaggle of Berliners who seem right out of Central Casting.
    • 73 Metascore
    • 67 Peter Rainer
    What the film is saying, so far as I can tell, is that, if cut, you will bleed. And bleed. As the vampire's kindred Seven Deadly Sinner, wild-haired Kim Ok-vin looks like she's having a high old time.
    • 69 Metascore
    • 67 Peter Rainer
    At around the halfway point the film takes an intriguing swerve, as Kyle is canonized and Lance is unexpectedly launched into celebrityhood. Flashes of deadpan outrageousness occasionally redeem the dourness.
    • 53 Metascore
    • 67 Peter Rainer
    Washington doesn’t look as if he’s having much fun, and who can blame him? Perhaps he agrees with me: Apocalypse movies, like apocalypse heroes, need some laughs, too.
    • 70 Metascore
    • 67 Peter Rainer
    Oswalt captures the rabidness of the die-hard fan, the kind you can hear at any moment on the sports talk shows.
    • 64 Metascore
    • 67 Peter Rainer
    Cloud 9 may not be my idea of a great movie, but it doesn't pretend that old folks are, by definition, sexless. In the movie business, this qualifies as a revolution.
    • 82 Metascore
    • 67 Peter Rainer
    As it is, The Maid is a study of a character who rarely emerges from the opaque end of the spectrum.
    • 34 Metascore
    • 67 Peter Rainer
    Uma Thurman looks frumpy in Motherhood. This is the only pressing reason to see it.
    • 74 Metascore
    • 67 Peter Rainer
    Invictus has an understated grace, but too often it comes across as hero-worshipy.
    • 77 Metascore
    • 67 Peter Rainer
    It’s a dirgelike odyssey sparked by Julianne Moore’s overheated turn as George’s best friend – a welcome respite from Firth’s clenched emoting.
    • 49 Metascore
    • 67 Peter Rainer
    Deft and fast-moving, but shouldn’t a musical have at least a few songs you can hum on your way home?
    • 61 Metascore
    • 67 Peter Rainer
    The Karate Kid will probably work best for young audiences unaware of its predecessor – or of much of anything else for that matter.
    • 51 Metascore
    • 67 Peter Rainer
    The film is never less than intelligent and never more than accomplished.
    • 68 Metascore
    • 67 Peter Rainer
    Téchiné's movies are always worth seeing, and The Girl on the Train, for all its faults, has moments that resonate
    • 47 Metascore
    • 67 Peter Rainer
    The whole thing is piffle, but it moves fast enough to stay entertaining.
    • 40 Metascore
    • 67 Peter Rainer
    Overwritten and overcooked, Remember Me still manages a few explosive sequences between Pattinson and Pierce Brosnan.
    • 52 Metascore
    • 67 Peter Rainer
    As Leonard, Nivola isn’t bad, which is good, since the entire movie revolves around him.
    • 57 Metascore
    • 67 Peter Rainer
    Aside from these two actors (Downey/Rourke), Iron Man 2 isn’t much of a whoop-de-do.
    • 50 Metascore
    • 67 Peter Rainer
    Something is going on all the time, even if that something is oftentimes clumsy, nonsensical, or flat. But the sheer whoosh of the story line keeps you watching anyway.
    • 58 Metascore
    • 67 Peter Rainer
    All this is mighty silly, but there's something to be said for watching a French movie that, for a change, isn't about l'amour, existential angst, or madness. It's oddly reassuring to know that Hollywood isn't the only place where dithery, disposable spy spoofs are manufactured.
    • 69 Metascore
    • 67 Peter Rainer
    For the literal-minded, there’s an added bonus: Johnny Cash singing Solitary Man over the opening credits.
    • 65 Metascore
    • 67 Peter Rainer
    Brand can seem simultaneously randy and strung-out and is often very funny. Hill is surprisingly touching.
    • 68 Metascore
    • 67 Peter Rainer
    O'Neill and Curry, both heretofore nonactors, can't put across much more than a single emotion at a time, but their amateurishness isn't as annoying as it might have been in a movie with higher aspirations and artistry.
    • 69 Metascore
    • 67 Peter Rainer
    A little of Solondz's deadpan creepiness goes a long way with me. Life During Wartime is about how people are not what they seem to be, but most of its characters aren't rich enough to exhibit single, let alone double, lives.
    • 66 Metascore
    • 67 Peter Rainer
    Resembles nothing so much as a workmanlike TV crime thriller.
    • 65 Metascore
    • 67 Peter Rainer
    It wants to be a movie about the intersection between criminality and the class system but, for that, it could have used a bit more class.
    • 60 Metascore
    • 67 Peter Rainer
    Is Jack, who is patterned on a real-life character, sociopathic or just plain clueless? Gallo doesn't seem to care. He cares about parading before us lowlifes living the high life.
    • 63 Metascore
    • 67 Peter Rainer
    The rural atmosphere is well wrought and so is the depiction of phony evangelism – but it all devolves into the usual heebie-jeebies by the end.
    • 76 Metascore
    • 67 Peter Rainer
    The humor is broad, the jokes not of the first freshness, and the cast, especially Bousdoukus, is hammy. And, for the record, the upscale menu, which is supposed to be scrumptious, doesn't look as tasty as the downscale one.
    • 58 Metascore
    • 67 Peter Rainer
    The film is provocative but also scattershot and not nearly as conclusive as it pretends to be. The almost complete absence of naysayers in any of the sections is a tip-off that the game is rigged.
    • 81 Metascore
    • 67 Peter Rainer
    Your heart goes out to all these kids, but Guggenheim's take on education stacks the deck against them even further by implying that only charters offer a ray of hope. Would that it were that simple.
    • 60 Metascore
    • 67 Peter Rainer
    RED
    RED is a poisoned valentine to the CIA, and that approach, too, is in keeping with its cold-war sentimentality.
    • 69 Metascore
    • 67 Peter Rainer
    Despite the all-too-harrowing familiarity of these scenes, they seem more like illustrations than dramatizations of trauma.
    • 53 Metascore
    • 67 Peter Rainer
    Michael Apted's direction veers into listlessness, but there is, at times, a pleasing elegance to the production, too. It doesn't assault you. Small favors are better than none.
    • 82 Metascore
    • 67 Peter Rainer
    As a testament to positive thinking, 127 Hours will probably stand as a ringing affirmation for reckless survivalists. For those of us not so affirmed, Boyle's paean to heroism – a better title for it might have been "A Farewell to Arm" – is merely the best gross-out music video ever made.
    • 69 Metascore
    • 67 Peter Rainer
    It's more than enough that the Wilsons were punished and pilloried for telling the truth. We don't need to see them sanctified by righteousness.
    • 65 Metascore
    • 67 Peter Rainer
    I would rather have seen a documentary about the real women instead of this workmanlike dramatic rendition.
    • 52 Metascore
    • 67 Peter Rainer
    In its final half-hour, all the stops are pulled. The movie is still wildly implausible but at least it's hurtling forward. The only thing missing from the proceedings is a windmill for John to tilt at.
    • 79 Metascore
    • 67 Peter Rainer
    Only Amy Adams, playing Mickey's tough-tender girlfriend Char­lene, manages to be convincingly working-class without seeming either dopey or rabid or strung-out.
    • 55 Metascore
    • 67 Peter Rainer
    Love & Other Drugs is a slick weepie made by smart guys who want you to know they're better than the schlockmeisters. They've outsmarted themselves.
    • 63 Metascore
    • 67 Peter Rainer
    No doubt some of it is charming enough to induce giggles in its preteen target audience.
    • 46 Metascore
    • 67 Peter Rainer
    Best when it's morphing into seriousness. Too often the comic bits seem like sops to the audience.
    • 48 Metascore
    • 67 Peter Rainer
    Too often the sequences in this movie play out like snatches from a terrific play that somehow got lost along the way.
    • 50 Metascore
    • 67 Peter Rainer
    The film isn't helped by Kline's cameo, although his comic timing is impeccable. The problem is that what he's timing – the role of an aging ego-swelled roué – is very tired stuff.
    • 76 Metascore
    • 67 Peter Rainer
    Although the filmmakers try to avoid roteness, the conflicts tend to play out along circumscribed lines. This gives the film a seesaw sameness. It's all a bit too diagrammed.
    • 69 Metascore
    • 67 Peter Rainer
    Essentially three movies in one: The staged reenactment of Columbus's expedition, the filming of that staged expedition, and the contemporary local uprising. It's a lot to bite off, especially since Bollaín's budget doesn't seem to be much larger than Sebastián's.
    • 63 Metascore
    • 67 Peter Rainer
    He was the Beatles of the hair business.
    • 70 Metascore
    • 67 Peter Rainer
    It's an omnisexual variation on François Truffaut's "Jules and Jim," although stylistically, with its emphases on hipper-than-thou attitudes and moody-blues visuals, it's much closer to the early work of Jean-Luc Godard and Wong Kar-Wai.
    • 45 Metascore
    • 67 Peter Rainer
    Wilson has a gawky affability here that helps redeem much that might otherwise seem tasteless (as opposed to tasteless-but-funny).
    • 45 Metascore
    • 67 Peter Rainer
    The happy endings in "HTYMP," as sweet as they are to experience, seem more engineered than inevitable.
    • 72 Metascore
    • 67 Peter Rainer
    Capotondi keeps circling his movie in and out of dream states and waking states as the whodunit morphs into who-cares-who-dunit?
    • 55 Metascore
    • 67 Peter Rainer
    Essentially The Conspirator is a courtroom drama with occasional bulletins from the outside world. It plays out to its predictable end with the doggedness, if not the verve, of a "Law and Order" episode.
    • 75 Metascore
    • 67 Peter Rainer
    It's certainly not a "breakthrough" comedy, unless the breakthrough is that women will flock to slobby, heartfelt romps starring Kristin Wiig instead of Seth Rogen. It's progress, sort of.
    • 56 Metascore
    • 67 Peter Rainer
    Better than bland but never quite rises above the level of a pretty good TV movie of the week.
    • 63 Metascore
    • 67 Peter Rainer
    An oddly discursive documentary that is, ultimately, more about Pierre Bergé, his companion and business partner of 50 years.
    • 81 Metascore
    • 67 Peter Rainer
    All of this has its value, but Plummer, in rollicking good form, without a shred of sentimentality, is primed for greatness, and Mills keeps cutting away from him just when things are getting interesting.
    • 76 Metascore
    • 67 Peter Rainer
    It's also a mistake, I think, to have Oliver and Jordana be so emotionally flat. No doubt Ayoade was reaching for a hipper-than-thou vibe here, but their inexpressiveness is more annoying than cool.
    • 62 Metascore
    • 67 Peter Rainer
    In Beautiful Boy, Ku manages to take a new-to-movie subject and flatten it into something that, despite its harrowing contours, is often grindingly familiar.
    • 60 Metascore
    • 67 Peter Rainer
    Switching between the 1950s, the '60s, and the present, it's compelling in a middling miniseries kind of way – expansive but not terribly deep.
    • 39 Metascore
    • 67 Peter Rainer
    It's not only light, it's thin. It's self-deprecating to a fault. Reynolds is required to practically wink at the audience, as if to say,"I know this looks silly."
    • 47 Metascore
    • 67 Peter Rainer
    Has its lewd funniness, though not often enough to make it worthy of not only "Bad Santa" but, more to the point, "School of Rock."
    • 57 Metascore
    • 67 Peter Rainer
    Marginally better than its predecessor, but the same problem still remains: Cars just aren't very interesting as anthropomorphic animation vehicles (pun intended).
    • 68 Metascore
    • 67 Peter Rainer
    With all the talk in Page One about the demise of print journalism and the rise of new media, this shiny spacious emporium seems like both a beacon and a staggering folly.
    • 34 Metascore
    • 67 Peter Rainer
    Chapman coaxes good performances from his cast, especially Wilson, who makes Joe's immense conflicts a matter of empathy as much as abhorrence.
    • 62 Metascore
    • 67 Peter Rainer
    It's a carefully manicured, almost genteel piece of moviemaking. The film is paradoxically both rousing and lulling.
    • 67 Metascore
    • 67 Peter Rainer
    July, like Hal Hartley, another overrated art-house luminary, is an acquired taste I have yet to acquire.
    • 59 Metascore
    • 67 Peter Rainer
    The result may have value to '60s sociologists, ethnologists, superannuated hippies, and Kesey fanatics, but for the most part what is on view is a jumble of scenes featuring pranksters getting high on grass and LSD.
    • 37 Metascore
    • 67 Peter Rainer
    It's a lot more cornball – i.e., enjoyable – than "The Tree of Life," which tried for some of the same things. Utopia, with its big blue skies and peachy-keen people, may not rank right up there with Shangri-La, but it's close enough.
    • 71 Metascore
    • 67 Peter Rainer
    Warrior becomes increasingly shameless until, by the end, with the big fights fought, we are clearly meant to rise as one and applaud the indomitability of the human spirit. But the only indomitable thing about Warrior are its clichés.
    • 63 Metascore
    • 67 Peter Rainer
    It's all tease in the first half, and all implausibilities in the second. Still, Thomas is always worth watching, in French or in English, whether her mood be chilly or tropical.
    • 76 Metascore
    • 67 Peter Rainer
    Much of the film is wordless, and apparently some of the Merjan ritualism is a concoction of the filmmakers. There's a trancelike quality to its best moments, but too much of it is artfully boring. Silent Souls is at the opposite extreme from Hollywood – it's all mood. Be careful what you wish for.
    • 72 Metascore
    • 67 Peter Rainer
    The film's predictability dampens its best parts. Having decided to make a movie about a dreaded subject, the filmmakers too often retreat into the comfort zone of easy assurances and flip quips.
    • 56 Metascore
    • 67 Peter Rainer
    Depp is disappointingly recessive here, as he often is when he's playing characters who don't have an antic streak.
    • 59 Metascore
    • 67 Peter Rainer
    The foundation of this sympathy is Hoover's complicated sexuality. Eastwood and Black have attempted to provide Hoover with the balm he denied himself in his own lifetime. It doesn't work.
    • 80 Metascore
    • 67 Peter Rainer
    Dunst gives a strong, hard-bitten performance even though she is playing an attitude rather than a character. Much of Justine's upsets are recorded in Von Trier's shaky-cam style – seasick realism. The grand planet-busting finale, though, is a beauty.
    • 76 Metascore
    • 67 Peter Rainer
    Low point would be Knightley's hysterical opening sequences in which she appears to be trying to trying to contort herself into a Moebius strip. Overacting this gross can only have been enabled by a director. Didn't Cronenberg look at the rushes? Or did he think he was back in "Dead Ringers" territory?
    • 74 Metascore
    • 67 Peter Rainer
    Once summer ends and the kids enroll in school, the jig will be up. The film ends with that eventuality. It would have been richer if it had opened with it.
    • 71 Metascore
    • 67 Peter Rainer
    The filmmakers may be just as clueless as Buddy when it comes to Mavis, who resembles nothing so much as a snooty stalker.
    • 61 Metascore
    • 67 Peter Rainer
    If this was a quintessential Polanski movie, something malign would reside inside its heart: The sitcom would explode its boundaries. The movie is called Carnage, but the carnivores on display are toothless.
    • 46 Metascore
    • 67 Peter Rainer
    Daldry and his screenwriter Eric Roth make the mistake of showing bodies falling from the Twin Towers – it's a mistake because its graphic power seems more exploitative than cathartic – but they otherwise thankfully refrain from pulling out all the stops.
    • 79 Metascore
    • 67 Peter Rainer
    The greatest performance, though, is Vanessa Redgrave's as Martius's blood-lusting mother, Volumnia. It's an extraordinarily powerful piece of acting, all controlled rage. When, in the end, that rage erupts, her vehemence splits the screen.
    • 80 Metascore
    • 67 Peter Rainer
    Miss Bala has been praised on the festival circuit for being a gritty look at the Mexican drug trade but too often it seemed like a bargain-bin "Scarface" to me.
    • 57 Metascore
    • 67 Peter Rainer
    It's worth noting that this movie is loosely based on actual people – except the real-life Driss character is, in fact, an Arab. If Driss had been an Arab, The Intouchables would have waded into less navigable waters, but it might have made for a tougher movie.
    • 65 Metascore
    • 67 Peter Rainer
    Ridley Scott has made two iconic sci-fi films, "Alien" (1979) and "Blade Runner" (1982). Trying for a hat trick with Prometheus, he comes up short. I'll say this much for it – it's not boring.
    • 54 Metascore
    • 67 Peter Rainer
    It's all rather sweet but instantly evanescent.
    • 59 Metascore
    • 67 Peter Rainer
    Savages isn't about anything except flashily directed mayhem. In this nest of vipers, it's the slitheriest varieties that survive – at least for a time.
    • 43 Metascore
    • 67 Peter Rainer
    Director Len Wiseman is good on action, and Patrick Tatopoulus's dystopic production design is within hailing distance of "Blade Runner," his chief influence. But essentially this is a big-screen video game.
    • 61 Metascore
    • 67 Peter Rainer
    Good at scenes of high-level nastiness, but there's too much confusing exposition in this "Legacy" and the action scenes, some of them good, are too little and too late.
    • 62 Metascore
    • 67 Peter Rainer
    Abbott has a compelling unpredictability, though, and in a couple of his scenes with Lynskey, you can spot the stirrings of a more complex film than the one we finally ended up with.
    • 55 Metascore
    • 67 Peter Rainer
    Fred Schepisi, one of the world's great directors ("The Chant of Jimmie Blacksmith," "A Cry in the Dark") is working at half-speed in The Eye of the Storm, a convoluted family drama derived from a Patrick White novel.
    • 58 Metascore
    • 67 Peter Rainer
    What you get in Trouble with the Curve is standard-issue late-career Eastwoodiana. The growl, the snarl, the crotchetiness are already familiar to us from "Million Dollar Baby" (2004) and "Gran Torino" (2009), his last appearance as an actor.
    • 67 Metascore
    • 67 Peter Rainer
    As Sam, the wayward stepsister of Charlie's sardonic friend Patrick (Ezra Miller), Watson doesn't lose her cool, or her warmth, in a role that might easily have devolved into terminal sappiness.
    • 42 Metascore
    • 67 Peter Rainer
    Hollywood has never been the best arena to hash out policy debates. But social-issue movies can have real societal impact. That's why Won't Back Down, which presses a lot of hot buttons, deserves to be taken seriously, and criticized seriously, on its own terms.
    • 67 Metascore
    • 67 Peter Rainer
    Zilberman's conceit is that these players, who mesh so beautifully in their music-making, are discordant in their personal lives. Those lives are constructed for maximum messiness, turning what might have been resonant drama into high-class soap opera.
    • 55 Metascore
    • 67 Peter Rainer
    It's never altogether clear why this visually blah and dramatically bland movie needed to be made at all (or why it wasn't made for television instead). The only answer I can come up with is that Murray wanted to show off with a cigarette-holder.
    • 73 Metascore
    • 67 Peter Rainer
    Rust and Bone is made by filmmakers and actors who are capable of much more – and they know it. The result is a true oddity: an orgy of hokum dressed up as an art film.
    • 59 Metascore
    • 67 Peter Rainer
    The performers are so likable that you stay with them even when, as is often the case, the material is hit-or-miss.
    • 94 Metascore
    • 67 Peter Rainer
    Because of its subject matter, and because of the actors, it's impossible to watch this film without being moved. But a martinet is running the show.
    • 55 Metascore
    • 67 Peter Rainer
    Promised Land is more effective as an anti-fracking screed than as a drama. Damon has his low-key charisma and Van Sant captures the enraged anomie of the community, but, except for one big plot twist, everything in this film is telegraphed from the first frame.
    • 34 Metascore
    • 67 Peter Rainer
    It pales beside the best down-and-dirty political movies (ranging from "The Candidate" to "The Manchurian Candidate") because, finally, it lacks the courage of its own lowdown convictions.
    • 75 Metascore
    • 67 Peter Rainer
    Soderbergh and screenwriter Scott Z. Burns maintain a tone of taut creepiness, but the plot’s double and triple crosses are more ingenious than believable.
    • 76 Metascore
    • 67 Peter Rainer
    So free-floating that it floats away.
    • 57 Metascore
    • 67 Peter Rainer
    Equal parts preachy and melodramatic, The Company You Keep never quite figures out what it wants to be.
    • 61 Metascore
    • 67 Peter Rainer
    Boyle loads his movie with so many snazzy effects that we lose sight of what it all means – if anything. His showoffiness confuses.
    • 66 Metascore
    • 67 Peter Rainer
    The film itself vaporizes before your eyes, but it’s likable. Given its unstable mishmash of thuggery and whimsy, that’s something of an achievement.
    • 65 Metascore
    • 67 Peter Rainer
    One of those documentaries that is more testimonial than investigation.
    • 66 Metascore
    • 67 Peter Rainer
    This is a movie that cries out for more than the too-cool-for-school Coppola’s trademark hipster anomie. She may be too much a part of the celebrity-mongering world she portrays to do justice to its injustices.
    • 63 Metascore
    • 67 Peter Rainer
    Director Marc Forster is very good at amping up the terror, but after a while, we reach zombie overload and we might as well be watching an infestation of Transformers.
    • 57 Metascore
    • 67 Peter Rainer
    Here’s a valuable moviegoing rule: Just because you use up an entire handful of hankies doesn’t mean a movie’s great. But Stamp and Redgrave are the real deal.
    • 76 Metascore
    • 67 Peter Rainer
    The subject matter, already troubling, is made even more so by Vinterberg’s almost sadomasochistic penchant for propping up Lucas’s martyrdom. He’s gunning for prey, too.
    • 74 Metascore
    • 67 Peter Rainer
    Thematically at least, it’s like a John Ford movie with pickup trucks. But everything plays out with a sodden deliberateness, as if something mythic were going on. No such luck.
    • 66 Metascore
    • 67 Peter Rainer
    Ungainly and overly ambitious, The Butler tries to encompass too much history within too narrow a framework.
    • 75 Metascore
    • 67 Peter Rainer
    It’s a truism, reinforced here, that actors often are the last to comprehend how they do what they do. No matter. What they give us is all that counts.
    • 74 Metascore
    • 67 Peter Rainer
    For all its pretensions and intermittent power, is essentially high-grade claptrap.
    • 75 Metascore
    • 67 Peter Rainer
    Rush isn’t bad, exactly, but it’s like a standard-issue male action programmer that somehow crept in from an earlier era.
    • 63 Metascore
    • 67 Peter Rainer
    I wish the film had probed more deeply into why anybody would face those odds. George Mallory’s “Because it’s there” has never quite cut it for me.
    • 53 Metascore
    • 67 Peter Rainer
    Peirce is gifted, but she lacks the ability of directors like DePalma to transform schlock into something deeply personal.
    • 67 Metascore
    • 67 Peter Rainer
    Despite the film’s intentions, Idris and Seun can’t really stand in for anybody but themselves. What they go through, as middle-class kids in a privileged school system, seems far less race-based than the filmmakers would have us believe.
    • 53 Metascore
    • 67 Peter Rainer
    It’s respectable, safe, intelligent – and a bit dull.
    • 60 Metascore
    • 67 Peter Rainer
    Not much depth or political examination here. The film works best as a survivalist’s manual.
    • 52 Metascore
    • 67 Peter Rainer
    We see him (Brolin) whip up a first-class chili, but his specialty is peach pie, which we watch him prepare so lovingly that I was surprised Reitman didn’t include the recipe in the end credits.
    • 61 Metascore
    • 67 Peter Rainer
    Movies about doubles are, almost by definition, creepy, but Villeneuve, not to be outdone, piles on the weirdness. He’s big on spider imagery, but the web is flimsy.
    • 69 Metascore
    • 67 Peter Rainer
    Although the movie goes way back into Rumsfeld’s career, it is the Iraq section that is the most noteworthy – and disappointing. Morris elicits virtually nothing revelatory from Rumsfeld.
    • 59 Metascore
    • 67 Peter Rainer
    Firth is very good at playing racked men of high principle. He’s so well cast as Lomax that, at times, he’s almost too perfect in the role. He’s still the best thing about the movie.
    • 42 Metascore
    • 67 Peter Rainer
    Moderately entertaining, periodically draggy, Transcendence is not as wacky-visionary as “The Matrix,” or nearly as lyrical as “Her.”
    • 32 Metascore
    • 67 Peter Rainer
    Some of the human-interest stories are compelling, but too much of this film is as dry as a high school classroom presentation.
    • 68 Metascore
    • 67 Peter Rainer
    There’s a pretty good movie buried somewhere deep inside the ungainly pastry that is Chef.
    • 56 Metascore
    • 67 Peter Rainer
    This movie is altogether too nice. I prefer sports movies with more sass and snap, like the films Ron Shelton (“Bull Durham”) used to make, or even parts of “Moneyball.”
    • 44 Metascore
    • 67 Peter Rainer
    In more ways than one, MacFarlane is trying to outgross Mel Brooks.
    • 71 Metascore
    • 67 Peter Rainer
    Cruise is better than he’s been in a while because he damps down his usual all-intensity-all-the-time MO. He’s best here when his character seems the most scared. And Emily Blunt as a commando legend is indomitable, a credit to her exoskeleton.
    • 77 Metascore
    • 67 Peter Rainer
    Gleeson is a wonderful actor and he keeps a lid on the blarney. He manages to convey a lot – fear, anger, compassion, rue – with only the slightest of squints and frowns. But he’s still the center of a cooked-up cavalcade of souls.
    • 70 Metascore
    • 67 Peter Rainer
    I’ve never seen a better performance – or whatever you want to call it – from a two-year-old.
    • 59 Metascore
    • 67 Peter Rainer
    Radcliffe and Kazan have a nice nerds-in-clover rapport. If only the movie wasn’t so satisfied with how cute it is.
    • 55 Metascore
    • 67 Peter Rainer
    I wish the movie weren’t quite so sappy about the spiritually redemptive powers of fine cuisine. Sometimes a meal is just a meal.
    • 57 Metascore
    • 67 Peter Rainer
    In the name of unblinking realism, Szász overdoes the allegory. There are no sacrificial gestures here, no heroism, no tears. He comes on as truth-teller, but he’s only telling half the truth.
    • 68 Metascore
    • 67 Peter Rainer
    Myers, whose background is in documentaries involving Afghanistan and Iraq War vets, is good at capturing the revealing, offhand moments in this story, but Maggie’s conflicts about motherhood and the military needed a greater psychological scope than this film provides.
    • 57 Metascore
    • 67 Peter Rainer
    This is a kid’s fantasy of how to be bigger and badder than anybody else. As for Washington, no doubt he now has his very own franchise.
    • 72 Metascore
    • 67 Peter Rainer
    Highly uneven, but at least it doesn’t glamorize Hawking’s life or turn it into a paean to endurance.
    • 67 Metascore
    • 67 Peter Rainer
    I must say I felt relieved that the film wasn’t a masterpiece. If it was, we’d have more reason to fear Stewart will leave "The Daily Show.”
    • 59 Metascore
    • 67 Peter Rainer
    Zamperini’s life story is genuinely inspirational, but the movie seems fashioned as a standard-issue profile in courage, with Zamperini, after a troubled youth, transformed into an almost saintlike figure. He would have been every bit as inspirational, even more so, without the halo.
    • 62 Metascore
    • 67 Peter Rainer
    We’re left with an enigma that is insufficiently probed: How does art this banal nevertheless capture us?
    • 60 Metascore
    • 67 Peter Rainer
    The fact that it's based on a true story doesn't alter the fact that, like most such Hollywood movies, it seems fabricated.
    • 51 Metascore
    • 67 Peter Rainer
    If Hollywood must have franchises, we could do worse than one highlighting people who have lived a long life and are not on altogether friendly terms with technology. But imagine what this cast could do with something less tutti-frutti!
    • 67 Metascore
    • 67 Peter Rainer
    The result is more of an illustrated storybook of a cherished classic than a living thing in its own right.
    • 54 Metascore
    • 67 Peter Rainer
    Wise, who is noticeably older than the 29-year-old Ruskin was at the time the events occurred in real life, gives a tense, implacable performance, and Fanning is touching. The movie, however, directed by Richard Laxton, could use a lot more oomph.
    • 50 Metascore
    • 67 Peter Rainer
    Director Rupert Goold keeps things appropriately creepy, but True Story is no “Capote.” It’s all buildup with little payoff.
    • 73 Metascore
    • 67 Peter Rainer
    There are some touching interactions between the players, but the film’s humanism is too predictably calibrated.
    • 66 Metascore
    • 67 Peter Rainer
    The action sequences aren’t especially well designed, and the plot, such as it is, is essentially one catastrophe after another.
    • 90 Metascore
    • 67 Peter Rainer
    The action sequences, at least as feats of engineering, are mightily impressive. But Miller is so caught up in all his hardcore allegorical hoo-ha that he never lightens up. Does he think maybe he’s Homer?
    • 60 Metascore
    • 67 Peter Rainer
    Tomorrowland is a rather sweet excursion into speculative sci-fi, and, wonder of wonders, it doesn’t even seemed primed for a sequel. But this movie about the thrill of the visionary is, alas, mostly earthbound.
    • 57 Metascore
    • 67 Peter Rainer
    This is Téchiné’s seventh film featuring Deneuve, and it’s not one of the better ones. (The best is probably 1986’s “Scene of the Crime.”) Still, it has its true-crime fascinations, and, until its misbegotten 30-year flash-forward to Maurice’s trial, it has a silky allure of sun-kissed depravity.
    • 70 Metascore
    • 67 Peter Rainer
    Boenish’s wife, Jean, who trained to jump with him, is interviewed extensively, and, although Strauch doesn’t provide much backstory for her, she emerges as that rarity – a perfect matchup to a seemingly unmatchable man.
    • 59 Metascore
    • 67 Peter Rainer
    Trevorrow and his co-screenwriters (Rick Jaffa, Amanda Silver, and Derek Connolly) do bring some nice low-key touches to the thudfest, and action is satisfying, if not galvanizing.
    • 75 Metascore
    • 67 Peter Rainer
    The most perplexing thing about this portrait is that, against all odds, the kids mostly seem outlandishly resilient and good-natured. I say “seem” because, again, I don’t entirely trust this portrait. Too much of what Moselle shows us looks tenderized.
    • 64 Metascore
    • 67 Peter Rainer
    I wish the film had gone even further into loopiness. Like Ant-Man, the film, directed by Peyton Reed, comes in two sizes – it’s sometimes big on laughs but often small on risk-taking.
    • 53 Metascore
    • 67 Peter Rainer
    Allen isn’t doing anything terribly deep-dish here, just gussying up the standard crime-movie tropes. To what end? His point, I think, is to demonstrate that human beings, no matter how educated, are capable of justifying the most awful acts.
    • 92 Metascore
    • 67 Peter Rainer
    Oppenheimer may have thought that by giving these murderers center stage they would expose their bestiality for all to see (except themselves). But what comes across instead is something far more insidious: a showcase for depravity.
    • 75 Metascore
    • 67 Peter Rainer
    Once you accept the fact that “Rogue Nation” is not going to be the wingding of the franchise, it becomes a lot easier to enjoy.
    • 75 Metascore
    • 67 Peter Rainer
    As the pushback to Gerwig’s force field, Kirke may at times be too mousy for her own (or the film’s) good, but her stillnesses are often a welcome respite in this whirligig.
    • 77 Metascore
    • 67 Peter Rainer
    The cast is uniformly good, although Tomlin overdoes the crusty-crone routine. She scowls a lot, but we all know she’s a secret softy.
    • 38 Metascore
    • 67 Peter Rainer
    This should all be risible except that Dowdle, who has worked in the horror genre, knows how to amp the action and keep the terror taut.
    • 82 Metascore
    • 67 Peter Rainer
    The film’s wrap-up, in which Jessica reveals some family secrets of her own, seems too engineered, too pat. Muylaert doesn’t do justice to the potential complexities of her premise. The film ends on a note of forced sunniness, but the outlook actually looks more like cloudy with a chance of showers.
    • 75 Metascore
    • 67 Peter Rainer
    Gere is believable enough, and so are his costars (Steve Buscemi and Kyra Sedgwick turn up in small roles). Vereen is best – he creates a full-bodied character using the sparest of means. It’s a magnificent cameo.
    • 65 Metascore
    • 67 Peter Rainer
    Overall this is a film in which, as the end credit documentary footage attests, the real story overwhelms its dramatization.
    • 62 Metascore
    • 67 Peter Rainer
    At least the film brings up a disturbing piece of history without sensationalizing it. And it does believably portray why so many Germans, with the war at last over and the economy beginning to boom, preferred to forget what many claimed they never knew.
    • 70 Metascore
    • 67 Peter Rainer
    I wish the film had done more – anything – to analyze Petit’s psyche. But he barely exists in the movie except as a certified daredevil.
    • 79 Metascore
    • 67 Peter Rainer
    The film in the end seems more of an expertly orchestrated blood bath than a full-scale tragedy.
    • 67 Metascore
    • 67 Peter Rainer
    Gavron’s conventional approach to the material compares unfavorably to the newsreels and stills of the actual suffragettes that close out the film. The harsh reality comes through in that footage in a way that the film as a whole only approaches in bits and pieces.
    • 69 Metascore
    • 67 Peter Rainer
    For me, there is too much rue that goes unacknowledged by the filmmakers. When great musicians must adulterate their art in order to find an audience, I see no pressing reason to cheer.
    • 65 Metascore
    • 67 Peter Rainer
    Director Francis Lawrence stages the action sequences, both aboveground and underground, with a modicum of flair, and Julianne Moore as rebel leader Coin gives off some sparks – she’s a reformer with a totalitarian streak – but for the most part there is nothing divertingly new or different about this franchise fade-out.
    • 76 Metascore
    • 67 Peter Rainer
    What The Revenant attempts but fails to do is create a larger vision from all this survivalist mayhem. It’s a useful how-to guide for how to stay alive after a bear attack – or a human attack, for that matter – but it doesn’t soar. It crawls.
    • 56 Metascore
    • 67 Peter Rainer
    Joy
    Lawrence is terrific at playing tough, as she also demonstrated in her previous outings with Russell, “Silver Linings Playbook” and, especially, “American Hustle." But maybe it’s time for her to take a rest from him for a while. There’s a lot more to this actress than bold and brassy.
    • 48 Metascore
    • 67 Peter Rainer
    Bay and his screenwriter, Chuck Hogan, adapting the nonfiction bestseller “13 Hours,” by Mitchell Zuckoff and the members of the Annex Security Team, resolutely avoid any overt political inferences.
    • 66 Metascore
    • 67 Peter Rainer
    With material this powerful, we shouldn’t have to continually be puzzling out what’s real and what’s staged.
    • 81 Metascore
    • 67 Peter Rainer
    At heart, Lindholm may be more of a documentarian, a glib documentarian, than he realizes. He goes with the surface of things.
    • 64 Metascore
    • 67 Peter Rainer
    It’s a strange, unsatisfying, fragmented movie, but at its best it belongs in the same unconventional continuum as Todd Haynes’s “I’m Not There” (about Bob Dylan) and “Love and Mercy” (about Brian Wilson).
    • 87 Metascore
    • 67 Peter Rainer
    Overall this overlong movie is too knowingly coy for its own good.
    • 64 Metascore
    • 67 Peter Rainer
    Miles Ahead is obviously a labor of love, but it falls into the trap of so many biopics about anguished artists – it confuses the anguish with the artistry.
    • 56 Metascore
    • 67 Peter Rainer
    Irons gives a deft performance as a man who is both entranced and flummoxed by his disciple, but the role itself is in most ways skimpily conceived. Hardy’s homosexuality, for one thing, is never really touched upon, as if that would somehow taint the proceedings.
    • 75 Metascore
    • 67 Peter Rainer
    The action, directed by Joe and Anthony Russo, is thuddingly effective without being terribly imaginative, but at least it’s not in the clobber-the-audience “Transformers” category.
    • 34 Metascore
    • 67 Peter Rainer
    The only heartfelt moment of this movie for me came in the end credits, with its dedication to the late Alan Rickman, who provided the voice for the blue butterfly (and former caterpillar) Absolem. What a voice, what an actor, what a loss.
    • 77 Metascore
    • 67 Peter Rainer
    There are some rollicky moments in Finding Dory, which comes 13 years after the markedly better “Finding Nemo,” both directed by Andrew Stanton.
    • 53 Metascore
    • 67 Peter Rainer
    In supporting roles, Gugu Mbatha-Raw as Rachel, the equally valiant house slave Newton makes his common-law wife, and Mahershala Ali as Moses, the leader of the renegade slaves, provide some powerful moments.
    • 66 Metascore
    • 67 Peter Rainer
    The mordancy of this movie will not surprise Solondz devotees, but unknowing audiences expecting a raunchy teen comedy from the film’s title should be forewarned. This is not “American Pie” in a kennel.
    • 66 Metascore
    • 67 Peter Rainer
    The result is that the wonderment, with nothing serious at risk, seems lackluster.
    • 70 Metascore
    • 67 Peter Rainer
    The computer-animated portions that function as a real-world framing device are more tedious than fanciful.
    • 64 Metascore
    • 67 Peter Rainer
    I will never be comfortable with the concept of Bosch as charming prankster. Just one look at the paintings will cure you of that notion.
    • 55 Metascore
    • 67 Peter Rainer
    It doesn’t help that most of the film is shot in a thick gray-green overlay that sets an immediate tone of abject dreariness. I’m not implying that Portman should have included high-kicking musical numbers to lighten the mood, but there is a Jewish tradition of mining the black comedy in tragedy that the film would have done well to avail itself of.
    • 69 Metascore
    • 67 Peter Rainer
    Well-observed and unassuming as this film is, it glides along rather too blandly.
    • 57 Metascore
    • 67 Peter Rainer
    The children are under the aegis of Miss Peregrine – played with divaesque triumphalism by Eva Green – who is capable of transforming herself into a falcon.
    • 63 Metascore
    • 67 Peter Rainer
    Wilkinson’s acting is likely to be undervalued simply because it seems effortless.
    • 87 Metascore
    • 67 Peter Rainer
    There’s something borderline dishonest about the way Rosi intercuts the oblivious, life-goes-on Lampedusans with the harrowing, too-brief footage of Africans inside the immigration center and aboard the rescue ships. His stylistics keep these two groups cruelly apart, but who knows if this is the way things actually play out?
    • 71 Metascore
    • 67 Peter Rainer
    The war scenes in Hacksaw Ridge, which take up almost half the screen time, are almost on a level with the D-Day invasion sequence from “Saving Private Ryan.”
    • 79 Metascore
    • 67 Peter Rainer
    Loving is a decent and heartfelt movie that, rarity of rarity these days, suffers from being too decent and heartfelt. It is so careful not to give offense that, in some ways, it’s more admirable for what it doesn’t do than for what it does.
    • 53 Metascore
    • 67 Peter Rainer
    This is a technological breakthrough, all right, but a breakthrough to what?
    • 79 Metascore
    • 67 Peter Rainer
    The result, as might be expected, is strong on acting and overly stagey.
    • 41 Metascore
    • 67 Peter Rainer
    Pratt does a creditable job of playing distraught without seeming like a ninny, and Lawrence at least looks stylish, though she’s not called upon to do much acting. You can almost hear her saying to herself, "I wonder what David O. Russell has planned for his next movie and can I pretty please have a role in it?"
    • 90 Metascore
    • 67 Peter Rainer
    Driver’s low-key charisma in the role rescues it from terminal dullness, and there are a few fine sidelights.
    • 93 Metascore
    • 67 Peter Rainer
    It’s all fitfully sharp and amusing but hardly a masterpiece.

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