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
    • 91 Peter Rainer
    Nathalie Baye is remarkable in Le Petit Lieutenant where she plays Caroline Vaudieu, a Parisian police inspector who returns to her post after a bout with alcoholism following her child's death.
    • 86 Metascore
    • 91 Peter Rainer
    DiCaprio's performance is a revelation only for those who have underestimated him. In Scorsese's previous films, "The Gangs of New York" and "The Aviator," he seemed callow and miscast, but here he has the presence of a full-bodied adult. He's grown into his emotions.
    • 77 Metascore
    • 91 Peter Rainer
    The film may be subtitled "Shut Up & Sing," but you can't sing with your mouth closed.
    • 64 Metascore
    • 91 Peter Rainer
    Viewers expecting a blistering attack on the fast-food business, or an Altmanesque panorama, will be disappointed, but it's a sensitive and humane piece of work.
    • 54 Metascore
    • 91 Peter Rainer
    It's a sideways view of a national trauma. The large cast includes standout performances from such unlikelies as Demi Moore, playing an alcoholic crooner, and Estevez himself, as her long-suffering husband. Everyone in this film is powerful.
    • 74 Metascore
    • 91 Peter Rainer
    If the literacy of The History Boys is deemed uncinematic, then give me uncinema anytime.
    • 89 Metascore
    • 91 Peter Rainer
    Clint Eastwood's Letters From Iwo Jima is his companion piece to "Flags of Our Fathers" and in almost every way is superior.
    • 88 Metascore
    • 91 Peter Rainer
    It's a marvelous performance in a marvelous movie, one that sneaks up on you while you're watching it.
    • 70 Metascore
    • 91 Peter Rainer
    The rap music we hear, which is produced outside Cuba's state-run music industry, is politically audacious and charged with personal expression and uplift. The film was produced by Charlize Theron's socially conscious company, Denver and Delilah films.
    • 71 Metascore
    • 91 Peter Rainer
    It appears to have been made from the inside, not only of the characters but of the historical situation in which they struggle.
    • 78 Metascore
    • 91 Peter Rainer
    In Zodiac, working from a script by James Vanderbilt, Fincher has decidedly toned down his act. His straight-ahead, methodical direction isn't as flagrantly unsettling as much of his previous work, but it's more psychologically layered. In this film, for the first time, we feel for his characters when they bleed.
    • 71 Metascore
    • 91 Peter Rainer
    In some ways the movie's straightforward style is more appropriate to the horror than a more souped-up approach would have been. With material this strong, sometimes the best thing a filmmaker can do is to stay out of the way.
    • 85 Metascore
    • 91 Peter Rainer
    A cross between "Godzilla" and "Jaws," it manages to be both truly scary and truly funny – sometimes all at once.
    • 82 Metascore
    • 91 Peter Rainer
    The Namesake takes in a lot of territory, and at times is too diffuse, too attenuated. But the actors are so expressive that they provide their own continuity. They transport us to a realm of pure feeling.
    • 85 Metascore
    • 91 Peter Rainer
    The interaction between soldiers and captives becomes a microcosm for an entire culture. It's a wisp of a movie but it has stayed with me longer than much supposedly weightier fare.
    • 81 Metascore
    • 91 Peter Rainer
    In addition to the marvelous lead cast, all sorts of funny performers show up in cameo roles, including Steve Coogan, Bill Nighy, and Timothy Dalton.
    • 68 Metascore
    • 91 Peter Rainer
    The plot's many complications pretty much all add up, which is a rarity these days for a murder mystery. It's possible that audiences don't even care anymore if a film makes sense as long it's entertaining.
    • 75 Metascore
    • 91 Peter Rainer
    The film is laced with lovely moments, from the leads and from Shelly as a waitress friend.
    • 62 Metascore
    • 91 Peter Rainer
    The most enjoyable thing about the "Ocean's" movies is that nobody involved seems to take them seriously. The star wattage is immense but the stars themselves are refreshingly self-deprecating, almost satirically so.
    • 69 Metascore
    • 91 Peter Rainer
    Dan Klores's astonishing film is about a subject so bizarre it could only work as a documentary – as a drama, it would be dismissed as being too far-fetched.
    • 69 Metascore
    • 91 Peter Rainer
    Easily the best in the series since the first one.
    • 80 Metascore
    • 91 Peter Rainer
    The movie is best when it just riffs on our compacted memories of the past 18 years of episodes. Fortunately, that's most of the time.
    • 63 Metascore
    • 91 Peter Rainer
    Considerably less slick than "An Inconvenient Truth," and no less urgent.
    • 84 Metascore
    • 91 Peter Rainer
    After seeing this film, try reading Norman Mailer's "Of A Fire on the Moon," its perfect companion piece.
    • 70 Metascore
    • 91 Peter Rainer
    Smart and charming.
    • 70 Metascore
    • 91 Peter Rainer
    The movie is an idyllic view of life as it ought to be, rather than the way it is.
    • 92 Metascore
    • 91 Peter Rainer
    In a film that overwhelmingly avoids happy-faced pronouncements, this one sticks out.
    • 81 Metascore
    • 91 Peter Rainer
    At its best, Juno is about the messy things in life that are not so easily summarized.
    • 92 Metascore
    • 91 Peter Rainer
    Sprawling yet cramped, There Will Be Blood may not be the best movie of the year, but it's certainly the strangest. It evokes passing comparisons to everything from "Giant" to "Citizen Kane" but it's impossible to pigeonhole.
    • 62 Metascore
    • 91 Peter Rainer
    Director Mark Waters does a fine job meshing the fantastical with the quotidian.