For 1,461 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 The Orphanage
Lowest review score: 0 Wild Hogs
Score distribution:
1,461 movie reviews
    • 90 Metascore
    • 100 Peter Rainer
    In Panahi's case, he is insuperably handicapped by his current constraints. And yet, despite everything, here is This Is Not a Film, which is emphatically a film – and an extraordinary one.
    • 74 Metascore
    • 100 Peter Rainer
    By holding the shot, as she so often does in this film, Takesue is encouraging audiences to take a deep, long look at things they might otherwise miss.
    • 86 Metascore
    • 100 Peter Rainer
    The performances by Phoenix and Hoffman are studies in contrast. Phoenix carries himself with a jagged, lurching, simianlike grace while Hoffman gives Dodd a calm deliberateness. Both actors have rarely been better in the movies. The real Master class here is about acting – and that includes just about everybody else in the film, especially Adams, whose twinkly girl-next-door quality is used here to fine subversive effect.
    • 79 Metascore
    • 100 Peter Rainer
    Photographic Memory is about the permanence and impermanence of what we choose to preserve: on film and in our heads (which is often the same thing). I would like to think that one day Adrian might look at this documentary and see it as a supreme act of paternal love.
    • 94 Metascore
    • 100 Peter Rainer
    Before Midnight is the fullest and richest and saddest of the three movies in the trilogy. Make it a quartet, I say.
    • 83 Metascore
    • 100 Peter Rainer
    I have rarely seen a movie that better expressed the revivifying nature of music. (Many of the women, not surprisingly, grew up singing gospel in church choirs and had preachers for parents.)
    • 80 Metascore
    • 100 Peter Rainer
    The fierce, questing intelligence of these students and educators is a perfect match for Wiseman’s own.
    • 90 Metascore
    • 100 Peter Rainer
    Her
    The wistfulness in this movie is large-souled. Theodore may worry that his love for Samantha makes him a freak, but Amy knows that “anybody who loves is a freak.” All this may sound touchy-feely in the worst way, but Jonze is trying to get at how we seek romantic connection in this brave (or not so brave) new world. Like Theodore, he risks looking foolish.
    • 78 Metascore
    • 100 Peter Rainer
    There is no need for Murmelstein to break down here. In The Last of the Unjust, it’s as if the whole world is weeping.
    • 77 Metascore
    • 100 Peter Rainer
    A lousy title for a marvelous movie.
    • 86 Metascore
    • 100 Peter Rainer
    The enchanting French-Belgian animated feature Ernest & Celestine is so liltingly sweet and graceful that, a day or two after I saw it, it seemed almost as if I had dreamed it.
    • 75 Metascore
    • 100 Peter Rainer
    Maier is a great artist who discounted adulation entirely. Her life was a masquerade; her genius, quite literally, was unexposed.
    • 100 Metascore
    • 100 Peter Rainer
    It’s the ultimate time-travel movie into the future, a “flowing time sculpture,” in Linklater’s own words.
    • 82 Metascore
    • 91 Peter Rainer
    Ballard filmed across hundreds of miles of South African desert, and there are times when the whole throbbing universe seems to resound for him.
    • 82 Metascore
    • 91 Peter Rainer
    Essentially two movies for the price of one. But those halves add up to more than most movies right now.
    • 82 Metascore
    • 91 Peter Rainer
    Baumbach captures the ways in which children takes sides in a war they can't even begin to comprehend.
    • 48 Metascore
    • 91 Peter Rainer
    The visuals are irrepressibly witty and so is the script, which morphs from the classic fable into a spoof on "War of the Worlds." I prefer this version to Spielberg's.
    • 81 Metascore
    • 91 Peter Rainer
    There's ample reason to stay with this series. When Harry says "I love magic," you believe it.
    • 62 Metascore
    • 91 Peter Rainer
    The Ice Harvest isn't a subversive piece of work; it's not making some grand statement about the dark side of the holiday spirit. But what it IS saying in its grimly funny way is that we can't always control the timing of our disasters.
    • 75 Metascore
    • 91 Peter Rainer
    Spiritual redemption is a big theme of Narnia, but on a purely entertainment level, the movie also goes a long way in redeeming the current sad state of children's fantasy filmmaking.
    • 58 Metascore
    • 91 Peter Rainer
    Blossoms of Fire fulfills the first criterion of any good ethnographic study: It's about an inherently interesting subject.
    • 38 Metascore
    • 91 Peter Rainer
    The staging of the physical comedy in The Pink Panther is not always adept - director Shawn Levy is no Blake Edwards - but Martin, who co-wrote the screenplay, keeps spinning in his own orbit anyway. And what an orbit it is.
    • 85 Metascore
    • 91 Peter Rainer
    All in all, a visual and musical feast.
    • 85 Metascore
    • 91 Peter Rainer
    As one of Booker's supporters notes, it's a sad day when academic success is used to denigrate an African-American.
    • 74 Metascore
    • 91 Peter Rainer
    All in all, a harrowing, one-of-a-kind movie.
    • 75 Metascore
    • 91 Peter Rainer
    It seems to me that too often in this country, and especially now, science has become politicized to the detriment of those who could be helped by it. Just because truths are inconvenient is no reason to suppose they are not real.
    • 73 Metascore
    • 91 Peter Rainer
    Probably the most faithful to the writer's tortured spirit. It's the kind of movie that gets under your skin - and stays there.
    • 68 Metascore
    • 91 Peter Rainer
    Kenan never loses sight of the wonderment that children (and adults) experience when the inanimate becomes animate. Anthropomorphism is basic to the art of animation. So is a good story, and Kenan has that, too.
    • 71 Metascore
    • 91 Peter Rainer
    Factotum is so sly and low-key hilarious that anybody can be in on the joke.
    • 66 Metascore
    • 91 Peter Rainer
    In Gyllenhaal's all-out performance, it reminded me most of Judy Davis in "High Tide," another movie directed by a woman (Gillian Armstrong) about a misfit mother and her daughter. It has the same fierce honesty.