For 1,457 reviews, this critic has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 8.8 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
Average review score: 68
Highest review score: 100 Deliver Us from Evil
Lowest review score: 0 I Now Pronounce You Chuck & Larry
Score distribution:
1,457 movie reviews
    • 71 Metascore
    • 83 Peter Rainer
    The overfamiliarity of What Doesn't Kill You is redeemed by a full-scale performance from Mark Ruffalo.
    • 62 Metascore
    • 83 Peter Rainer
    Throughout the film there are small, rapturous moments.
    • 72 Metascore
    • 83 Peter Rainer
    For most of the way this is an eye-popping, not blood-curdling, experience.
    • 76 Metascore
    • 83 Peter Rainer
    Levy-Hinte has said that a great deal more concert footage exists. I can't wait for the expanded version DVD.
    • 80 Metascore
    • 83 Peter Rainer
    By Dardenne standards this plot is pretty pulpy and unconvincing, but I rather enjoyed watching them attempt to twist it into an existentialist pretzel.
    • 70 Metascore
    • 83 Peter Rainer
    Devotees of the "Whole Earth Catalogue" may regard this film as a nostalgia trip, but it's much more comprehensive, more forward-looking than that.
    • 70 Metascore
    • 83 Peter Rainer
    Each man has his own distinctive style, and yet when they jam together it sounds like the most natural thing in the world.
    • 66 Metascore
    • 83 Peter Rainer
    It all seems like a stunt, especially since Beaven has also written a just-published book about his experiences, but he and Conlin are an engaging pair who don't let zealotry get in the way of humor.
    • 71 Metascore
    • 83 Peter Rainer
    As fiercely unsentimental as Disgrace is, it offers by the end a measure of hope, and because that hope is so hard-won, it has the ring of truth.
    • 67 Metascore
    • 83 Peter Rainer
    Shulman was around so long that he even got to weigh in on Frank Gehry's Disney Hall. He was skeptical once but came to love it.
    • 79 Metascore
    • 83 Peter Rainer
    Bong's style is comically tart even in the film's most noirish moments.
    • 62 Metascore
    • 83 Peter Rainer
    The best part is that, amid all the hubbub, Jeunet, improbably and inevitably, draws out a love story between Bazil and Elastic Girl. Without it, Micmacs would have imploded. The romance, which is funny and sexy at the same time, anchors the shenanigans.
    • 58 Metascore
    • 83 Peter Rainer
    It has a sweetness all its own.
    • 86 Metascore
    • 83 Peter Rainer
    Positioned somewhere between sitcom and piercing human drama, The Kids Are All Right, is both overtly familiar and cutting edge.
    • 56 Metascore
    • 83 Peter Rainer
    Pound for pound, Ami is a heavyweight.
    • 70 Metascore
    • 83 Peter Rainer
    Montenegro, the star of "Central Station," and her daughter make a remarkable pair. They hold your attention even when the emptily portentous story does not.
    • 69 Metascore
    • 83 Peter Rainer
    The film's parallels between Mohmed's travails and the Iraq war are forced, but overall this is a fascinating odyssey that never plays out in ways you would expect.
    • 75 Metascore
    • 83 Peter Rainer
    Dews perhaps makes too much of the notion that Allis was a woman out of her time – a feminist precursor. This is too sociological a formulation for such a patently psychological crisis.
    • 79 Metascore
    • 83 Peter Rainer
    The aura of shock-and-awe surrounding this game is laid on a bit thick, and sometimes you feel like you're just watching an ESPN special. Still, it's fun. The interviewees include Harvard's stone-cold-serious Tommy Lee Jones and Brian Dowling, Yale's wonder-boy quarterback who became the model for B.D. in classmate Garry Trudeau's "Doonesbury."
    • 74 Metascore
    • 83 Peter Rainer
    A pretty good example of the kind of movie Hollywood used to turn out by the yard.
    • 89 Metascore
    • 83 Peter Rainer
    The film pays off in the end when, almost imperceptibly, the rush of emotions it stirs in us rises to a soft crescendo.
    • 75 Metascore
    • 83 Peter Rainer
    Ellsberg, his full-scale personal trajectory laid bare, emerges as a more complex man than both the right and the left have generally given him credit for.
    • 77 Metascore
    • 83 Peter Rainer
    When Kandel revisits his childhood neighborhoods in Vienna and Brooklyn and ruminates in his sprightly way on the past, the full measure of his humanity comes through.
    • 77 Metascore
    • 83 Peter Rainer
    The Ghost Writer is minor Polanski but it’s one of the rare thrillers these days that plays up to you instead of down.
    • 75 Metascore
    • 83 Peter Rainer
    I can agree that the power brokers in this scenario, who effectively broke Barnes's will, have far more interest in tourism than in masterpieces. But casting this story as a battle between the elites and the philistines mischaracterizes the situation.
    • 59 Metascore
    • 83 Peter Rainer
    Although it’s refreshing to see a movie that stands up for charter schools and takes on teachers unions for their hammerlock on educational oversight, Bowdon overcorrects. His home state of New Jersey may not be an isolated case but neither, with its high level of corruption, should it be seen as altogether representative of all countrywide educational ills.
    • 68 Metascore
    • 83 Peter Rainer
    Ultimately, the blight is so overwhelming that the film collapses from corruption overload.
    • 63 Metascore
    • 83 Peter Rainer
    A celebration of the gloriously mundane.
    • 60 Metascore
    • 83 Peter Rainer
    If the head of the bureau is God, then why is he played by Terence Stamp and not Morgan Freeman?
    • 74 Metascore
    • 83 Peter Rainer
    There's an original comic temperament at work here, and that's rare.