For 2,194 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 6 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Happy-Go-Lucky
Lowest review score: 0 I Now Pronounce You Chuck & Larry
Score distribution:
2194 movie reviews
    • 74 Metascore
    • 91 Peter Rainer
    It gives ample play to all sides of the argument. Herzog allows us to think things through on our own.
    • 69 Metascore
    • 91 Peter Rainer
    The marvel of Cage's performance is that, somehow, it's all of a piece. That's the marvel of the movie, too. This is one fever dream you'll remember whole.
    • 77 Metascore
    • 91 Peter Rainer
    It's really about the ways in which Chinese westernization clashes with the traditionalism of Confucian teachings. It's about competition versus piety.
    • 85 Metascore
    • 91 Peter Rainer
    All in all, a visual and musical feast.
    • 83 Metascore
    • 91 Peter Rainer
    This is a movie about, among other things, pain, and it's made by someone who understands its expression.
    • 75 Metascore
    • 91 Peter Rainer
    The innocence of the townspeople is weirdly uplifting. They love their Bernie so much that they seem even more blinkered than he is.
    • 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.
    • 84 Metascore
    • 91 Peter Rainer
    By the film’s end, the main protagonists have become more philosophical, if no less ardent, about the future of Egypt. “We are not looking for a leader,” Hassan declares. “We are looking for a conscience.” He has only to look in the mirror.
    • 79 Metascore
    • 91 Peter Rainer
    What we do see, among much else that is damning, are archival NYPD videotapes of the boys being interrogated by detectives who press them to implicate one another in exchange for a leniency that never materialized.
    • 87 Metascore
    • 91 Peter Rainer
    Particle Fever doesn’t prompt us to say: “Gee, these superbrains are just like us, except for the brains.” The film allows for our awe. It also demonstrates that science is the most human of activities, with all that that implies.
    • 80 Metascore
    • 91 Peter Rainer
    The ongoing tragedy in Africa is too nefarious, too complicated, for any one film to do it justice, but We Come as Friends opens a wide window into this mansion of horrors.
    • 82 Metascore
    • 91 Peter Rainer
    His (Lindholm) steadfast, unvarying gaze has its own authenticity. He’s made a thriller that thrills while also respecting our intelligence.
    • 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.
    • 84 Metascore
    • 91 Peter Rainer
    Anderson works in animation and home movies (Lolabelle “playing” the piano is a wonder), and Anderson’s voice-over narration is closer in quality to song than to spoken word. It’s a confounding, transfixing mélange.
    • 85 Metascore
    • 91 Peter Rainer
    Bracingly perceptive about the human comedy.
    • 81 Metascore
    • 91 Peter Rainer
    If the sequels to “The Force Awakens” are as good as this film, that will probably be because they follow the same formula: heavy on the human side, more comedy, less CGI, more fresh faces, and more delightful droids. And, yes, one must pay homage to the Force.
    • 76 Metascore
    • 91 Peter Rainer
    The riders who appear in Buck seem almost uniformly exalted by their contact with Brannaman and his methods.
    • 82 Metascore
    • 91 Peter Rainer
    At just over two hours, Stranded is nonstop harrowing. It has cumulative power.
    • 76 Metascore
    • 91 Peter Rainer
    I wish Rowley didn’t so often dabble in standard movie-thriller-style stylistics, but his film is an exposé of practices that need – demand – exposing.
    • 76 Metascore
    • 91 Peter Rainer
    It leaves us with a question that may be unanswerable: How does one extinguish terrorism when its causes are myriad?
    • 63 Metascore
    • 91 Peter Rainer
    It's a sweet and disquieting excursion made by filmmakers whose eyes and ears and imaginations are in marvelous sync.
    • 69 Metascore
    • 91 Peter Rainer
    The remarkable thing about Smith in The Lady in the Van is that, even though the role is no longer fresh for her, the performance certainly is. She gives it everything she’s got because, you feel, she wants to honor this character. She wants Miss Shepherd to live on.
    • 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
    Baumbach captures the ways in which children takes sides in a war they can't even begin to comprehend.
    • 71 Metascore
    • 91 Peter Rainer
    Factotum is so sly and low-key hilarious that anybody can be in on the joke.
    • 92 Metascore
    • 91 Peter Rainer
    In a film that overwhelmingly avoids happy-faced pronouncements, this one sticks out.
    • 91 Metascore
    • 91 Peter Rainer
    The pessimism pervading this film is summed up by Shalom, who says, speaking of the decades of occupation: "The future is very dark."
    • 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.
    • 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.

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