For 1,417 reviews, this critic has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% 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 This Is Not a Film
Lowest review score: 0 Wild Hogs
Score distribution:
1,417 movie reviews
    • 69 Metascore
    • 50 Peter Rainer
    Look for a cameo by a movie star whose initials are J.D.
    • 80 Metascore
    • 50 Peter Rainer
    Hansen-Løve wants us to experience all this as a kind of amour fou, but all I kept thinking was that Sullivan was a prize jerk and Camille would be well rid of him.
    • 41 Metascore
    • 50 Peter Rainer
    Cameron Diaz and Jennifer Lopez provide the star power, but what's missing is script power.
    • 45 Metascore
    • 50 Peter Rainer
    There's a great movie to be made about the survivors of Woodstock Nation and their children. But in order to make that movie, you first have to respect the ideals of that generation enough to at least give them their due.
    • 47 Metascore
    • 50 Peter Rainer
    Warning: If you have an allergic reaction to songs like "Take Me Home Tonight" and "I Want to Know What Love Is," do not venture within 10 miles of this movie.
    • 49 Metascore
    • 50 Peter Rainer
    The most interesting plot development – Frankie starts falling for Sam – is nipped in the bud. Some things even a soap opera won't stoop to.
    • 86 Metascore
    • 50 Peter Rainer
    The endangered swampland dwellers are supposed to be an indigenous pastoral community threatened by eco-unfriendly oil refineries. I kept rooting for Hushpuppy and Co. to leave behind their squalor and relocate. This is not the politically correct response.
    • 46 Metascore
    • 50 Peter Rainer
    Almost every scene is pitched for dewy sympathy. Madsen, a strong actress who might have matched Freeman, is portrayed in varying shades of blandness. Even Freeman, good as his is, is held back here. His rock bottom isn't very rocky, and far from bottomless.
    • 55 Metascore
    • 50 Peter Rainer
    The result is maddening, exasperating, occasionally exhilarating – and mostly boring.
    • 55 Metascore
    • 50 Peter Rainer
    Hopkins has been fitted out prosthetically to resemble Hitchcock and he does a reasonably good job of impersonating him, but it's a foredoomed effort.
    • 56 Metascore
    • 50 Peter Rainer
    It's all rather exhausting, as opposed to exhilirating.
    • 40 Metascore
    • 50 Peter Rainer
    Penn is always entertaining when he's playing characters drunk with depravity. Gangster Squad could use more of him.
    • 49 Metascore
    • 50 Peter Rainer
    Directed by Allen Hughes and written by Brian Tucker, the film is a collection of crime noir oddments that don't add up to a full meal.
    • 28 Metascore
    • 50 Peter Rainer
    If there is to be a sequel to this thudding slab of cacophony, why not just go all the way and make John McClane a superhero?
    • 58 Metascore
    • 50 Peter Rainer
    Park employs all manner of cinematic derring-do – shock cuts, off-kilter compositions, discontinuous storytelling – all to no great purpose other than to make us go “Wow.” A more appropriate response might be, “Huh?”
    • 45 Metascore
    • 50 Peter Rainer
    Nobody in it seems to possess a nervous system.
    • 62 Metascore
    • 50 Peter Rainer
    The action, directed by Shane Black, ranges from passable to interminable. The plot goes from clang to bang. Downey Jr. is still the best thing about this series.
    • 50 Metascore
    • 50 Peter Rainer
    There is nothing magical about seeing one’s umpteenth car chase. Mark Ruffalo plays the weirdly scruffy FBI agent on the case, while Morgan Freeman, in super-slow mode, plays a famous magic debunker. He’d make the ideal critic for this movie.
    • 55 Metascore
    • 50 Peter Rainer
    Taking a cue from the “Batman” series, the film is dark and thudding and overlong.
    • 55 Metascore
    • 50 Peter Rainer
    This farce set mostly aboard a transatlantic flight stuck in midair never launches.
    • 64 Metascore
    • 50 Peter Rainer
    The Kaijus make zombies look like wusses, so at least the fights in this film are battles royal. But overload sets in early, and it all turns into battle boring.
    • 37 Metascore
    • 50 Peter Rainer
    The whole enterprise comes across like a first draft.
    • 49 Metascore
    • 50 Peter Rainer
    The omnipresent Benedict Cumberbatch plays Assange, stringy white-gray hair flowing, and Daniel Brühl is Domscheit-Berg. Condon and his screenwriter Josh Singer don’t quite know what to make of this duo, perhaps because the men didn’t quite know what to make of each other, either.
    • 61 Metascore
    • 50 Peter Rainer
    The most inventive aspect of the film, aside from a lovely, daffy romantic duet between hypernerds played by Steve Carell and Kristen Wiig, are the promotional tie-ins with which we’ve been inundated -- Ron hawking Dodge Durango trucks, accepting journalism school awards, etc.
    • 75 Metascore
    • 50 Peter Rainer
    The film is almost three hours long and precious little of it feels new – not from Scorsese or from anybody else.
    • 51 Metascore
    • 50 Peter Rainer
    Biopics about civil rights icons are usually staid affairs. Cesar Chavez, directed by Diego Luna, is no exception.
    • 36 Metascore
    • 42 Peter Rainer
    Given the decibel level of this movie, it's a miracle that these guys were able to give creditable performances. To give you an idea of the magnitude of the achievement: Imagine delivering a stirring rendition of the Gettysburg Address while standing under Niagara Falls.
    • 41 Metascore
    • 42 Peter Rainer
    If you're the kind of moviegoer who likes puzzling out the plots of insoluble movies, then by all means rush to see Stay, a great big blurry mess.
    • 47 Metascore
    • 42 Peter Rainer
    The Legend of Zorro, starring Antonio Banderas as the masked one, made me long to re-watch "Zorro the Gay Blade," the great spoof starring George Hamilton. In that film, the Spanish accents were meant to sound deliberately fake.
    • 45 Metascore
    • 42 Peter Rainer
    This thinly autobiographical gangsta odyssey never achieves liftoff, and Jackson is unconvincing.
    • 65 Metascore
    • 42 Peter Rainer
    The film rapidly devolves into a lame buddy picture, part thriller, mostly goof.
    • 35 Metascore
    • 42 Peter Rainer
    Draggy pastiche of tired gags and half-baked homilies.
    • 46 Metascore
    • 42 Peter Rainer
    The stage is set for a full-scale racial conflict, but neither actor is really up to the task - McDermott seems lost in his voluminous beard and Snoop Dogg spits his lines out.
    • 45 Metascore
    • 42 Peter Rainer
    It's disconcerting to see Virginia Madsen, who was so marvelous in her 2004 comeback role in "Sideways" reduced to playing the terrified wife here.
    • 50 Metascore
    • 42 Peter Rainer
    Wilson does his callow good-guy routine (if you close your eyes you'd swear he was his brother, Owen) and Thurman looks as if she'd rather be stalking prey in "Kill Bill."
    • 51 Metascore
    • 42 Peter Rainer
    Something happens to Robin Williams in serious roles. He becomes so drab that it's almost as if he's trying to efface himself from the screen.
    • 50 Metascore
    • 42 Peter Rainer
    The result is this metabiography that says almost nothing about the great photographer's life or art.
    • 35 Metascore
    • 42 Peter Rainer
    Thomas Harris adapted his own bestseller and Peter Webber, who previously directed "Girl with a Pearl Earring," had the unenviable task of trying to give this glop, which is too gruesome to be campy, a high gloss. It should be called Man With a Severed Head.
    • 65 Metascore
    • 42 Peter Rainer
    [Apted] also has an unfortunate penchant for bland stateliness, and never more so than in Amazing Grace, a well-intentioned piece of historical waxworks.
    • 47 Metascore
    • 42 Peter Rainer
    Soppy, schematic weepie.
    • 25 Metascore
    • 42 Peter Rainer
    There's enough family dysfunction here to fill out a dozen soppy soap operas.
    • 34 Metascore
    • 42 Peter Rainer
    As the gambler who needs his basketball phenom brother to shave points, Whitaker has some expressive scenes, and Roth knows how to make malice gleam. But almost nothing else in this movie does.
    • 62 Metascore
    • 42 Peter Rainer
    Bug
    If you have claustrophobia and/or fear insects, the last film you should see is Bug. I'm not sure it's worth a trip even if you don't suffer from those maladies.
    • 46 Metascore
    • 42 Peter Rainer
    This one doesn't have enough zesty ideas to revive the breed.
    • 53 Metascore
    • 42 Peter Rainer
    Emma Roberts is squeaky-clean to a fault and so is the movie.
    • 52 Metascore
    • 42 Peter Rainer
    Though much blood is shed, the film is bloodless.
    • 68 Metascore
    • 42 Peter Rainer
    Too many different stories are vying for attention here, and none of them are very good.
    • 46 Metascore
    • 42 Peter Rainer
    There is no reason why Reservation Road could not have been great. George has co-written some powerful films in the past, including two for Daniel Day-Lewis, "In the Name of the Father" and "The Boxer." He is not wrong to want to mainline intensity here, but the inner lives of these men have not been explored, only displayed.
    • 45 Metascore
    • 42 Peter Rainer
    Blanchett miraculously gives a good performance, even when saddled with lines like this one, to Clive Owen's Sir Walter Raleigh: "In another world, could you have loved me?"
    • 51 Metascore
    • 42 Peter Rainer
    The Golden Compass is a blatant attempt to duplicate the success of the "Harry Potter" franchise. The only thing missing is richly imagined characters, a comprehensible story line, good acting, and satisfying special effects.
    • 29 Metascore
    • 42 Peter Rainer
    The treasure hunt in Fool's Gold is, of course, meant to be about more than money. But the only reason for this movie to exist is to make money.
    • 52 Metascore
    • 42 Peter Rainer
    No doubt Be Kind Rewind will soon make its way to – um – DVD.
    • 40 Metascore
    • 42 Peter Rainer
    How can we take this doomsday scenario seriously when we keep waiting for Bruce Willis to rise from the ashes?
    • 38 Metascore
    • 42 Peter Rainer
    Director Vadim Perelman is big on slo-mo lyrical effects and confusing time shifts, making the movie unnecessarily arty and detracting from what could have been a searing psychological study.
    • 37 Metascore
    • 42 Peter Rainer
    The only surprise to me about this movie is that there no jokes about kilts – a serious omission in an otherwise entirely predictable farce.
    • 37 Metascore
    • 42 Peter Rainer
    So hyperfrenetic that, in the end, you wonder if the Wachowskis aren't trying to pull off an elaborate hoax – a deranged techno fantasia posing as retro-ish family fare.
    • 54 Metascore
    • 42 Peter Rainer
    It's all a bit like "Girl Interrupted" shattered into a thousand shards, but Page somehow manages to come through with a performance despite the director's distracting technique.
    • 54 Metascore
    • 42 Peter Rainer
    At least we have Alan Arkin playing the head of CONTROL. His drone and deadpan are a perfect complement to Carell's. But please, pretty please, let's not go for a sequel on this one, OK?
    • 64 Metascore
    • 42 Peter Rainer
    Violence in the movies, no matter how many CGI effects are utilized, can't help but be far more luridly realistic. And, in the case of Wanted, to what end?
    • 49 Metascore
    • 42 Peter Rainer
    What begins as a pretty good comedy devolves rapidly into a high-flown example of Hollywood messagemongering.
    • 55 Metascore
    • 42 Peter Rainer
    If you were a fan of David Cronenberg's "Crash," based on J.G. Ballard's book about people who get sexually excited by auto accidents, you might just be the target audience for Quid Pro Quo, a perverse psychological drama.
    • 51 Metascore
    • 42 Peter Rainer
    Poor Pierce Brosnan. Sport that he is, he does his level best to be a song-and-dance man but it's just not in him. He's touchingly awful. The same could probably be said for the entire movie.
    • 53 Metascore
    • 42 Peter Rainer
    The film also seems to end at least four times, which is three times too many. Better yet, it never should have started.
    • 36 Metascore
    • 42 Peter Rainer
    Why would you take your kids to see Space Chimps, an uninspired animated feature about chimp astronauts, when you could take them instead to see "Wall-E"? And if they've already seen "Wall-E," you're really lowering the bar by venturing into this one.
    • 31 Metascore
    • 42 Peter Rainer
    There is one bit of good news. For all you abominable snowman fans out there, "The Mummy" is filled with yetis. And, boy, are they ever angry.
    • 61 Metascore
    • 42 Peter Rainer
    Red
    Any movie that opens with the killing of a pet dog is definitely going to capture your attention. But where do you go from there?
    • 56 Metascore
    • 42 Peter Rainer
    Although the film's visuals are a cut above, say, "Sin City," another serioso graphic novel-turned-movie, it has the same mood: a film-noir-ish soddenness punctuated by megaviolence. Watchmen is the anti-"Incredibles."
    • 56 Metascore
    • 42 Peter Rainer
    W.
    Stone may think he's made a movie about the toxicity of the Bush presidency, but what we have instead is a cautionary tale of a decidedly lower order. As far as I can make out, the real message of W. is: Don't vote for anybody who talks with his mouth full of food.
    • 57 Metascore
    • 42 Peter Rainer
    It's a lot easier to follow than "Syriana." But intelligibility is about the only thing this international thriller has going for it.
    • 37 Metascore
    • 42 Peter Rainer
    Clocking in at 160 minutes, this interminable movie comes across like a rough cut. Perhaps Lee believed its length would give it gravitas. The opposite is true.
    • 58 Metascore
    • 42 Peter Rainer
    The Express may prove valuable to movie historians since it's a compendium of virtually every sports movie cliché ever contrived.
    • 57 Metascore
    • 42 Peter Rainer
    The honey runs thick in The Secret Life of Bees, and so does the treacle. The cloying dullness sets in early, although not from the first frame.
    • 36 Metascore
    • 42 Peter Rainer
    Seven Pounds, coming after "The Pursuit of Happyness" and "I Am Legend," seems like the third in a trilogy of inspirational bummers.
    • 56 Metascore
    • 42 Peter Rainer
    Sadly, it lacks the classic awfulness that might have lifted it into the pantheon of Truly Bad Movies. Instead, what we have here is a garden variety bad movie, of which there have been all too many lately.
    • 45 Metascore
    • 42 Peter Rainer
    Fanboys, directed by Kyle Newman, doesn't delve into the mania of fandom, it exploits it.
    • 38 Metascore
    • 42 Peter Rainer
    It's not the retro attitudes in "Confessions" that bother me (at least not much). It's the lack of laughs.
    • 49 Metascore
    • 42 Peter Rainer
    It occurred to me that Emmerich and Co. might be playing this whole thing for laughs. It probably occurred to them, too.
    • 39 Metascore
    • 42 Peter Rainer
    The best thing The Edge of Love could do for you is to send you back to Thomas's poetry. Dash this folderol.
    • 62 Metascore
    • 42 Peter Rainer
    Swinton's performance, and practically everything else about Julia, seems off – tone-deaf. She plays an out-of-control wastrel who enters into a kidnapping scheme gone horribly wrong, as does the movie.
    • 42 Metascore
    • 42 Peter Rainer
    Being touted as the first film ever shot in the Smithsonian complex. With any luck, it will also be the last. This is not the best use of our landmarks.
    • 34 Metascore
    • 42 Peter Rainer
    As a laughing-through-tears jokester tourist, Richard Dreyfuss provides the only moments of real acting, as opposed to overacting, mugging, and scenery chomping.
    • 37 Metascore
    • 42 Peter Rainer
    Perhaps Nair believes that heroism in our tabloid era has become degraded. If so, she overcorrected. Amelia is so pure in heart that it slides right off the screen.
    • 64 Metascore
    • 42 Peter Rainer
    The novelist Cormac McCarthy was served well by the Coen Brothers' adaptation of his novel "No Country for Old Men" but comes a cropper in The Road, a lugubrious trek through postapocalyptic debris.
    • 57 Metascore
    • 42 Peter Rainer
    This is certainly the grubbiest Holmes in movie history.
    • 49 Metascore
    • 42 Peter Rainer
    Doesn't evoke New York and its vignettes are trite – with one exception, a touching sequence directed by Mira Nair with Natalie Portman as a Hasidic bride and Irrfan Khan as a Jain diamond merchant.
    • 55 Metascore
    • 42 Peter Rainer
    Zemeckis tries to juice things up by staging numerous chase scenes up and around London, but do we really need "A Christmas Carol: The Action Picture"?
    • 49 Metascore
    • 42 Peter Rainer
    By turns antic, frantic, and dull, "Pippa Lee" is unconvincing – emotionally, dramatically, filmically.
    • 42 Metascore
    • 42 Peter Rainer
    Amid all the mayhem, there is Paris in all its faded-light glory. Is the movie worth seeing as a travelogue? Only if you are (a) a masochist, (b) a terrorist, or (c) desperate.
    • 35 Metascore
    • 42 Peter Rainer
    This is the kind of movie where life lessons are posted every quarter-hour. (I timed it.)
    • 43 Metascore
    • 42 Peter Rainer
    Brooklyn’s Finest does indeed provide a new genre twist. This must be the only cop movie ever made where a character is driven off the deep end by mold.
    • 45 Metascore
    • 42 Peter Rainer
    Not a sterling example of how to make a high-toned weepie, let alone a serious examination of trauma.
    • 37 Metascore
    • 42 Peter Rainer
    Was Paper Man worth making? Captain Excellent and I would probably differ on that one.
    • 53 Metascore
    • 42 Peter Rainer
    I much prefer Mel Brooks’s “Robin Hood: Men in Tights” to all this doomy somberness. Why take the legend so seriously?
    • 47 Metascore
    • 42 Peter Rainer
    It probably won't matter to its core audience that The A-Team doesn't make a lick of sense.
    • 41 Metascore
    • 42 Peter Rainer
    As the doomed princess, Q’orianka Kilcher, who costarred as Pocahontas in Terence Malick’s “The New World,” has imperially striking features but limited acting skills. If her performances should ever rise to the level of her looks, she’ll be great.
    • 51 Metascore
    • 42 Peter Rainer
    His drug-smuggling underworld, specifically the Amsterdam-New York connection, is likewise drably depicted. Is this because director Kevin Asch and screenwriter Antonio Macia deliberately played it down, or are they just incompetent? I’ll be charitable and vote for the former, but sometimes sensationalism is preferable to being altogether unsensational.
    • 56 Metascore
    • 42 Peter Rainer
    The characters who come off best in Dinner for Schmucks are those dead mice.
    • 61 Metascore
    • 42 Peter Rainer
    At some point in their careers, most male actors want to play (a) Hamlet, and (b) a hit man. I hope that Clooney has gotten "b" out of his system.
    • 54 Metascore
    • 42 Peter Rainer
    As the boarding school honcho Father Benedictus, Geoffrey Rush chews so much scenery that he looks ready to burst.
    • 56 Metascore
    • 42 Peter Rainer
    Eastwood and Morgan are not con artists, but their awe here is so unblinking that their film comes across as a transcendent con job.
    • 79 Metascore
    • 42 Peter Rainer
    A love-it-or-hate-it movie. Put me in the (sort of) hate-it column. My slight qualification here is because Darren Aronofsky's movie starring Natalie Portman as an increasingly unhinged ballerina gets points for being unlike anything else that's out there.
    • 47 Metascore
    • 42 Peter Rainer
    If you go to Burlesque expecting a campy hoot on the order of "Showgirls," you may be in for a disappointment. It's not quite awful enough, although it's plenty bad.
    • 57 Metascore
    • 42 Peter Rainer
    Morning Glory isn't targeting the dumbing down of TV news. It's pandering to the audience that craves the dumbness.
    • 43 Metascore
    • 42 Peter Rainer
    Normally I'd watch Helen Mirren in anything, even if she was just putting out the laundry or reading the phone book. But, given the roteness of her line readings here, it might have been better if the phone book rather than Shakespeare was her text.
    • 49 Metascore
    • 42 Peter Rainer
    Ought to have been state of the art. But there's not a whole lot of artistry to be found in this movie.
    • 67 Metascore
    • 42 Peter Rainer
    Sometimes empty is just empty. What Gertrude Stein said about Oakland can also apply to Somewhere: "There is no there there."
    • 45 Metascore
    • 42 Peter Rainer
    Country Strong is the latest and, in many ways, the least impressive entrant in the achy-breaky sweepstakes.
    • 28 Metascore
    • 42 Peter Rainer
    It would take a lot more than holy water to rescue Season of the Witch from mediocrity.
    • 33 Metascore
    • 42 Peter Rainer
    A fumbling comedy directed by Dennis Dugan that could have benefitted from surgical reconstruction. How about some liposuction to siphon off all those lame jokes?
    • 29 Metascore
    • 42 Peter Rainer
    Oldman makes a four-course dinner out of the scenery with enough slash and burn to leave you wondering if he is vying with Nicolas Cage for the title of filmdom's biggest hambone.
    • 65 Metascore
    • 42 Peter Rainer
    It is not the redemptive uplift that I am objecting to here. It's the way that Bier manipulates us in order to send us aloft. She wants the world to be a better place. Fine. But what she has concocted here is an arty version of the same old Hollywood dumb-down dramaturgy. It just has a higher gloss.
    • 36 Metascore
    • 42 Peter Rainer
    It seems a bit cruel to cast Garner, who exudes charm, in such a charmless role.
    • 44 Metascore
    • 42 Peter Rainer
    This semiexpressionist fantasia is a botch.
    • 33 Metascore
    • 42 Peter Rainer
    The flashback sequences sometimes come across like "'For Whom the Bell Tolls' for Dummies."
    • 60 Metascore
    • 42 Peter Rainer
    Foster seems blinkered and tone-deaf to what's actually appearing onscreen.
    • 50 Metascore
    • 42 Peter Rainer
    Writer-director Massy Tadjedin cuts back and forth between these twin temptations. Will Michael succumb and prove Joanna correct in her suspicions? Will Alex's French accent conquer all? Do you care? I didn't.
    • 42 Metascore
    • 42 Peter Rainer
    The only saving grace is that this time around, the script (yes, there is one, and it was concocted by Ehren Kruger) has occasional wisps of lucidity, and Bay delivers – overdelivers – on the mayhem.
    • 68 Metascore
    • 42 Peter Rainer
    Since the only really good "Planet of the Apes" movie was the 1968 original with Charlton Heston, I've always wondered why filmmakers can't just leave well enough alone.
    • 48 Metascore
    • 42 Peter Rainer
    The problem with this year-by-year structure is that the slow crawl to the end can seem agonizing if the film isn't engaging. And One Day, despite strenuous attempts by all involved to make us laugh, cry, and laugh-cry, is more likely to induce winces. We've seen it all before – and better.
    • 58 Metascore
    • 42 Peter Rainer
    His rise from a marginalized Jewish boy in Nazi-occupied Paris to his chain-smoking fame as the composer of such Euro-hits as "Je t'Aime … Moi Non Plus" is presented as one long, hallucinatory jag, revealing far less about Gainsbourg, I would imagine, than about Sfar.
    • 50 Metascore
    • 42 Peter Rainer
    Frankly, if I'm going to be offered a heaping pile of revisionism about the greatest writer who ever lived, I'd rather it be from someone with more academic heft than the director of "Independence Day" and "Godzilla." I trust the teachers who receive this film's study guide have a shredder handy.
    • 55 Metascore
    • 42 Peter Rainer
    Turns one of the greatest geniuses of German literature into a love-struck rapscallion.
    • 36 Metascore
    • 42 Peter Rainer
    Muddled cop thriller The Son of No One has a top-drawer cast and a bottom-drawer script.
    • 45 Metascore
    • 42 Peter Rainer
    I would imagine that even those who line up for this film will be somewhat let down, if only because it's clear that most of the juicy stuff will arrive in Part 2 – which won't be released until next November.
    • 22 Metascore
    • 42 Peter Rainer
    The cast, at least on paper, is formidable, if ill-used.
    • 48 Metascore
    • 42 Peter Rainer
    What this film really celebrates is crunch-and-thud video-game-style action, not especially well choreographed by director Guy Ritchie.
    • 38 Metascore
    • 42 Peter Rainer
    The best thing about the film is the majestic mountain vistas, shot in Canada. You can practically inhale them.
    • 44 Metascore
    • 42 Peter Rainer
    The film is more testimonial than drama.
    • 53 Metascore
    • 42 Peter Rainer
    This movie is "Finian's Rainbow" for dunderheads. Rudd has a few amusing moments talking to himself in a mirror (he's trying to convince himself he's a stud) but he would have been better off talking himself out of this film.
    • 38 Metascore
    • 42 Peter Rainer
    The idiocy of the film's conceit is that Simon recruits innocents like Will to carry out these vigilante killings.
    • 55 Metascore
    • 42 Peter Rainer
    The plot slogs along and family secrets are hauled out, each more implausible than the next.
    • 43 Metascore
    • 42 Peter Rainer
    360
    Morgan is a wonderful writer when he's working from the headlines, but his "personal" movies, like "Hereafter" and this one, release a bleary, pseudo-profound aspect of his talent that's best left in the dark.
    • 50 Metascore
    • 42 Peter Rainer
    Potty jokes and bawdy gross-outs predominate, and the few good laughs are swamped by the overall laughlessness.
    • 52 Metascore
    • 42 Peter Rainer
    As for me, I don't see why women being as slobby and gross as the guys is such a feminist breakthrough – especially since, as in Bachelorette, the slobbiness and grossness is witless.
    • 61 Metascore
    • 42 Peter Rainer
    Sean Penn is one of those actors, like Nicolas Cage, who is best (sometimes worst) when he's over-the-top. Unlike Cage, Penn doesn't pour himself into dreadful commercial vehicles. No, his dreadful movies are usually not destined for the multiplex. Case in point: This Must Be the Place.
    • 63 Metascore
    • 42 Peter Rainer
    One of the many, many things wrong with Joe Wright's Anna Karenina, starring Keira Knightley as literature's most famous adulteress – take that, Emma Bovary! – is that one never feels the love. It's a conceit in search of a movie. It could just as easily have been titled "Décor."
    • 50 Metascore
    • 42 Peter Rainer
    The jokes mostly fall flat and the dramatic scenes fall even flatter.
    • 48 Metascore
    • 42 Peter Rainer
    Granted, this is not automatic laugh-riot material, nor should it be, but didn’t Fey recognize how hackneyed it all is? Does being a movie star mean blanding out everything that makes you special?
    • 62 Metascore
    • 42 Peter Rainer
    42
    The filmmaking is TV-movie-of-the-week dull and Robinson’s ordeal is hammered home to the exclusion of virtually everything else in his life.
    • 42 Metascore
    • 42 Peter Rainer
    Is it possible to truly start life all over again? Arthur Newman might have been better if it had not started at all.
    • 58 Metascore
    • 42 Peter Rainer
    Is Malick deliberately courting self-parody here? Probably not. That would imply he had a sense of humor.
    • 55 Metascore
    • 42 Peter Rainer
    The Great Gatsby isn’t simply a classic American text: In Luhrmann’s hands, it’s also the greatest self-help manual ever written.
    • 30 Metascore
    • 42 Peter Rainer
    The tonal problem of the second installment, which often resembled a drug-infested pulp thriller instead of a comedy, is also problematic here.
    • 33 Metascore
    • 42 Peter Rainer
    It’s impossible to take this movie seriously, certainly not as seriously as it takes itself.
    • 42 Metascore
    • 42 Peter Rainer
    There’s a potentially good comedy to be made about old-school guys trying to make a go of it in a youth-dominated digital marketplace, but director Shawn Levy and screenwriter Jared Stern overdose on moronic excursions.
    • 37 Metascore
    • 42 Peter Rainer
    Hammer plays the Lone Ranger as a clueless, stolid square, and the resulting contrast with Depp’s cartoonishness isn’t odd-couple funny, just blah.
    • 44 Metascore
    • 42 Peter Rainer
    The blue humor in We’re the Millers is just bland. And yes, Aniston performs a (modified) striptease. That’s pretty bland, too.
    • 48 Metascore
    • 42 Peter Rainer
    I kept expecting Sacha Baron Cohen to traipse onto the scene. Alas, he doesn’t.
    • 41 Metascore
    • 42 Peter Rainer
    Hailee Steinfeld’s Juliet is rather lovely and rather bland; Douglas Booth’s Romeo might have stepped out of a special Renaissance Faire edition of GQ.
    • 86 Metascore
    • 42 Peter Rainer
    The melancholy in this film is just as trumped up as the frenzy.
    • 52 Metascore
    • 42 Peter Rainer
    It’s like an over-the-hill gang variant on “The Dirty Dozen,” except not as much fun as that sounds.
    • 47 Metascore
    • 33 Peter Rainer
    Parker is bland throughout. Maybe all those episodes of "Sex and the City" have soured her on this sort of thing.
    • 45 Metascore
    • 33 Peter Rainer
    If, as the ads would lead you to believe, you go to see The Break-Up expecting a romantic comedy, you will be severely disappointed. If you go to it expecting a good movie, you will also be severely disappointed.
    • 61 Metascore
    • 33 Peter Rainer
    Its wasted cast includes Dyan Cannon, Sally Kellerman, Len Cariou, and Brenda Vaccaro, who miraculously manages to give a fine performance in this malarkey.
    • 51 Metascore
    • 33 Peter Rainer
    Just because The Fountain is different doesn't mean it's good. In fact, it's borderline unwatchable, though this hasn't prevented the Oscar buzz from buzzing.
    • 54 Metascore
    • 33 Peter Rainer
    The movie often seems glib in the face of tragedy. And when, near the end, Shepard tries to pour on the hearts and flowers by showing us just what made Simon crack up on camera, the bathos is icky. The whole movie is icky.
    • 56 Metascore
    • 33 Peter Rainer
    The end result, at best, is high-toned pulp.
    • 46 Metascore
    • 33 Peter Rainer
    Even by Farrelly standards, the film is a washout.
    • 42 Metascore
    • 33 Peter Rainer
    Few things are more dispiriting than a holiday movie straining to become a perennial. Such is the case with Fred Claus, an insipid Christmas comedy.
    • 38 Metascore
    • 33 Peter Rainer
    Poetic conceits only work if they're poetic.
    • 42 Metascore
    • 33 Peter Rainer
    The Bucket List is a movie for oldsters that, paradoxically, looks as if it was made for 15-year-olds. If this is what is meant in Hollywood as "thinking outside the box," then it's time to get a new box.
    • 41 Metascore
    • 33 Peter Rainer
    The best thing you can say about Mad Money is that it has a good cast. The worst thing you can say about it is that the cast is extremely ill-used.
    • 17 Metascore
    • 33 Peter Rainer
    This business of the 88 minutes ticking away is a pale imitation of the old "High Noon" ploy of playing out suspense in real time. After a while, though, I began to take a perverse pleasure in wallowing in the awfulness of it all.
    • 45 Metascore
    • 33 Peter Rainer
    Everywhere he goes he asks if anybody knows bin Laden's whereabouts – as if anybody is going to tell him! Why should we accompany him on his self-aggrandizing trip?
    • 36 Metascore
    • 33 Peter Rainer
    What Happens in Vegas is not only annoying, it's also incompetent – a bad mix.
    • 35 Metascore
    • 33 Peter Rainer
    The animated characters in "Clone Wars" are about as lively as the actors in the live-action movies, so I guess Lucas has achieved his goal of eliminating humans from his movies altogether.
    • 20 Metascore
    • 33 Peter Rainer
    I don't mind a movie where people spend a lot of time jawboning, but what they say had better be interesting. In Spinning into Butter we are spoon-fed the deep dark revelation that racism can exist as virulently in liberal environs as in reactionary ones. Alert the media.
    • 34 Metascore
    • 33 Peter Rainer
    I guarantee you, if Charles Dickens were alive today, he might well be writing movies but he sure as shootin' wouldn't have written "Ghosts."
    • 34 Metascore
    • 33 Peter Rainer
    The people who made Year One seem to think that all you have to do to make a hit comedy is get a bunch of jokesters together. But where are the jokes?
    • 32 Metascore
    • 33 Peter Rainer
    It's all so resolutely uninspired that even the kids in the audience may want to duck out.
    • 49 Metascore
    • 33 Peter Rainer
    Allegorical in the worst ways, Antichrist is about as profound as a slasher movie.
    • 66 Metascore
    • 33 Peter Rainer
    Critics who come out against Kick-Ass are leaving themselves open to that worst of contemporary accusations: a failure to be cool. But pretending that Kick-Ass is just another good-time comic book blowout is the greater failure.
    • 42 Metascore
    • 33 Peter Rainer
    Notable only for being a catalog of just about every kid-pic cliché ever committed to film.
    • 30 Metascore
    • 33 Peter Rainer
    A movie that at best is irrelevant and at worst is unwatchable.
    • 37 Metascore
    • 33 Peter Rainer
    Maybe Hackford, and his screenwriter Mark Jacobson, were attempting to convey the dullness of vice. If so, they vastly overcorrected. But what about the dullness of the performances?
    • 37 Metascore
    • 33 Peter Rainer
    To see Johnny Depp and Angelina Jolie in The Tourist is like watching a chemistry experiment gone horribly wrong.
    • 46 Metascore
    • 33 Peter Rainer
    The script by Allan Loeb careens all over the place without ever coming to rest on anything interesting.
    • 44 Metascore
    • 33 Peter Rainer
    It's as if the filmmakers were hungover from the first film and wanted to make a violent action movie instead.
    • 57 Metascore
    • 33 Peter Rainer
    The coarseness wouldn't be so bad if at least the steady stream of obscenities were funny.
    • 46 Metascore
    • 33 Peter Rainer
    Dislikable movie characters don't always result in dislikable movies but that's certainly the case with Sam Levinson's Another Happy Day, a dysfunctional family meltdown movie about an impending wedding that only grows more aggravating as it unwinds.
    • 39 Metascore
    • 33 Peter Rainer
    Sit this one out.
    • 41 Metascore
    • 33 Peter Rainer
    The script is replete with howlers. My favorite, from Kitsch, after the aliens strike: "I've got a bad feeling about this." Indeed.
    • 45 Metascore
    • 25 Peter Rainer
    Youngsters may enjoy it. But the humor is generally of the genre heard in the boys' locker room at the high school gym.
    • 41 Metascore
    • 25 Peter Rainer
    When promising independent filmmakers decide to jump on the bandwagon and pump up the gore, the results are sure to be touted as visceral and unflinching. Don't be fooled. Kramer has even commented that the movie should be viewed as a modern-day Grimm's fairy tale. It's grim all right.
    • 45 Metascore
    • 25 Peter Rainer
    Weitz doesn't have the chops for satire, let alone black comedy.
    • 40 Metascore
    • 25 Peter Rainer
    This woozily uplifting saga is big on homilies and deficient in just about everything else.
    • 45 Metascore
    • 25 Peter Rainer
    Bacon lavishes his camera on her (Sedgwick) in various states of dress and undress, but the script, by Hannah Shakespeare - talk about having to live up to a name! - is a cheat. It rarely expands on the boy's crises in having to deal with such a mother.
    • 36 Metascore
    • 25 Peter Rainer
    I suspect audiences will see Shyamalan's portentous doodle for what it is - the height of arrogance and a bad night out at the movies.
    • 26 Metascore
    • 25 Peter Rainer
    Borderline unwatchable, although, as is true of all Gilliam movies, it certainly is different.
    • 26 Metascore
    • 25 Peter Rainer
    I hope Keaton doesn't begin to make a specialty of these roles. They play into what is least attractive in her repertoire – the loosey-goosey, knockabout side of her that all too swiftly devolves into hysterics.
    • 55 Metascore
    • 25 Peter Rainer
    Some movies are so flagrantly awful that they achieve classic status. To this rarefied company we must now add The Astronaut Farmer.
    • 31 Metascore
    • 25 Peter Rainer
    Graham was good in films such as "Boogie Nights" and "Bowfinger" where her apparent innocence was a smoke screen for her lustful connivance. To be effective in the movies, she needs something to counteract her wholesomeness.
    • 52 Metascore
    • 25 Peter Rainer
    Maybe Jackson should avoid any more movies with "snake" in the title.
    • 53 Metascore
    • 25 Peter Rainer
    The story is too self-conscious about its offbeat qualities, becoming so cool that it practically freezes on the screen.
    • 47 Metascore
    • 25 Peter Rainer
    Sometimes, dear reader, there's no place like home, and that's just where you should be when this gorefest opens at a theater near you.
    • 45 Metascore
    • 25 Peter Rainer
    After a powerful opening, when we see the first victim suddenly go blind while driving in traffic, the film devolves into a dystopian freak show and wastes many wonderful performers, including Mark Ruffalo and Julianne Moore.
    • 24 Metascore
    • 25 Peter Rainer
    By comparison, Bride Wars makes "Sex and the City" seem like Jane Austen.
    • 29 Metascore
    • 25 Peter Rainer
    The only point of interest in New in Town is sociological. In the current economic climate, this comedy about workers whose livelihood is rescued by a benevolent boss represents the ultimate wish-fulfillment fantasy. Don't spend your hard-earned discretionary cash on it.
    • 56 Metascore
    • 25 Peter Rainer
    Why are Steve Carell and Tina Fey wasting their time, and ours, by appearing in the miserable comedy Date Night?
    • 20 Metascore
    • 25 Peter Rainer
    The Last Airbender is like a Care Bears movie that got waylaid in the fourth dimension. It's insufferably silly.
    • 31 Metascore
    • 25 Peter Rainer
    Full disclosure: I have to say I did laugh during Your Highness. Twice, I think.
    • 30 Metascore
    • 25 Peter Rainer
    Numbingly inane comedy.
    • 36 Metascore
    • 25 Peter Rainer
    It's a mash-up of blah buddy comedy and gross-out CGI monster splatter, with nary a laugh to be had.
    • 89 Metascore
    • 25 Peter Rainer
    The effect is intended to be ghastly – which it certainly is – but I was equally repelled by this film’s conceit. Oppenheimer allows murderous thugs free rein to preen their atrocities, and then fobs it all off as some kind of exalted art thing. This is more than an aesthetic crime; it’s a moral crime.
    • 35 Metascore
    • 16 Peter Rainer
    An impossibly, incomprehensibly overlong and cacophonous bore.
    • 67 Metascore
    • 16 Peter Rainer
    It just may be the most boring movie ever made – period.
    • 48 Metascore
    • 16 Peter Rainer
    Monumentally unromantic.
    • 47 Metascore
    • 16 Peter Rainer
    They miss by a mile – or should I say, a light-year.
    • 55 Metascore
    • 16 Peter Rainer
    Caine acts dignified throughout, but there's no way to dignify dreck.
    • 41 Metascore
    • 0 Peter Rainer
    There's nothing fresh or off-beat in Final Destination 3, no talent that is struggling to get out. The only thing struggling to get out was me from the theater.
    • 27 Metascore
    • 0 Peter Rainer
    The subculture of weekend warrior bikers is such rich comic material that the ineptitude of Wild Hogs is doubly offensive.
    • 25 Metascore
    • 0 Peter Rainer
    A sham.
    • 37 Metascore
    • 0 Peter Rainer
    Comedy that seems designed to be as bad as it can be.
    • 23 Metascore
    • 0 Peter Rainer
    It's the audience for this film that will require therapy.
    • 33 Metascore
    • 0 Peter Rainer
    A movie of such stupendous uninspiration that, watching it, I didn't know whether to be affronted or hornswoggled. Movies this monumentally dreadful, after all, don't come along every day.
    • 39 Metascore
    • 0 Peter Rainer
    Such a feeble excuse for an action comedy that it's already taken pride of place in my upcoming worst-movies-of-2011 list.
    • 35 Metascore
    • 0 Peter Rainer
    I squirmed in my seat throughout Identity Thief, a colossally unfunny and misguided comedy.