For 2,023 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 6.2 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Treeless Mountain
Lowest review score: 0 Final Destination 3
Score distribution:
2,023 movie reviews
    • 67 Metascore
    • 91 Peter Rainer
    Whatever the case, the film resounds with hyperbolic passion. Hot bubbling currents flow through this film’s constricted veins.
    • 79 Metascore
    • 90 Peter Rainer
    It's an elliptical tragedy in which the fate of its characters takes on a larger significance while never losing its intimacy.
    • 79 Metascore
    • 90 Peter Rainer
    What's remarkable is how often the photographer's subjects allow themselves to be caught on film; it's as if they understood implicitly that Nachtwey was there not only to agitate for reform but to memorialize their agony. He does both.
    • 83 Metascore
    • 90 Peter Rainer
    It's a truly prodigious piece of work, resembling a career summation far more than a maiden voyage.
    • 71 Metascore
    • 90 Peter Rainer
    Linklater must have recognized a kindred spirit when he read Belber's play. He's given us a reality-fantasy game, a psychodrama, a harangue, and a detective story all rolled into one.
    • 78 Metascore
    • 90 Peter Rainer
    The lifelong friends in Fred Schepisi's marvelous Last Orders actually seem like lifelong friends.
    • 75 Metascore
    • 90 Peter Rainer
    Sophisticated and nuanced, and every character is bursting with emotional contradictions.
    • 84 Metascore
    • 90 Peter Rainer
    Moodysson captures exactly the preening narcissism and gumption of these frazzled would-be revolutionaries trying to wriggle out of their bourgeois straitjackets.
    • 85 Metascore
    • 90 Peter Rainer
    Belzberg doesn't intervene during the moments of violence, believing that the film can force social change only by showing the worst. If she is correct, then this film should move mountains.
    • 74 Metascore
    • 90 Peter Rainer
    A mesmerizing documentary.
    • 81 Metascore
    • 90 Peter Rainer
    I've never seen another movie that so clearly expresses the sensual sustenance that great folk culture provides its practitioners.
    • 84 Metascore
    • 90 Peter Rainer
    Beautifully directed by Phillip Noyce, the film -- is a full experience, a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence.
    • 81 Metascore
    • 90 Peter Rainer
    Achingly funny movie...Guest has cultivated a stock company of players whose work together is so intuitively sharp that it seems to redefine the boundaries of acting.
    • 78 Metascore
    • 90 Peter Rainer
    Michel Bouquet's performance makes Anne Fontaine's How I Killed My Father required viewing.
    • 82 Metascore
    • 90 Peter Rainer
    Free speech isn't merely a shibboleth in The Agronomist. As embodied by Dominique, it's a fire-breathing force.
    • 82 Metascore
    • 90 Peter Rainer
    The jamboree is beautifully shot and directed, by Chris Menges and David Leland respectively, and there is a haunting touch: the presence of George’s son, Dhani, on guitar, looking near-identical to his dad in his twenties.
    • 83 Metascore
    • 90 Peter Rainer
    A comedy in the best sense--it draws its life from the pitch-perfect authenticity of its characters.
    • 79 Metascore
    • 90 Peter Rainer
    While making his new film, he (McElwee) imagines that his boy is looking back at his screen image from some distant point in the future, when McElwee himself is gone. No child of a moviemaker could ask for a more beautiful bequest.
    • 88 Metascore
    • 90 Peter Rainer
    The funniest and most emotionally charged erotic road movie since Bertrand Blier's "Going Places."
    • 91 Metascore
    • 90 Peter Rainer
    At its best, the film compares favorably to its obvious antecedents, "Rififi" (which Melville once hoped to direct) and "The Asphalt Jungle."
    • 90 Metascore
    • 90 Peter Rainer
    It would be a mistake to regard American Splendor as an anthem for the common man. It is the UNCOMMON that is being celebrated here.
    • 66 Metascore
    • 90 Peter Rainer
    The work of an obsessive who has developed a light touch--though some of his more outright themes and pronouncements can be heavy-going.
    • 73 Metascore
    • 90 Peter Rainer
    Tsunashima gives a deft performance in a role that starts out as caricature but becomes full-bodied. Collette commands the screen virtually the entire time.
    • 77 Metascore
    • 90 Peter Rainer
    A movie that really zips along; it offers some of the same pleasures as the silent slapstick comedies, particularly the Keaton films, with their sense of how sheer velocity carries its own wit.
    • 84 Metascore
    • 90 Peter Rainer
    The script, instead of being what we tolerate in order to savor the visuals, is a delight all by itself.
    • 94 Metascore
    • 90 Peter Rainer
    What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
    • tbd Metascore
    • 90 Peter Rainer
    It’s a magical little movie about a most unmagical subject.
    • 79 Metascore
    • 90 Peter Rainer
    A flashy, nasty triumph
    • 85 Metascore
    • 90 Peter Rainer
    Kim exalts nature--life’s passage--without stooping to sentimentality. He sees the tooth and claw, and he sees the transcendence. Whether this is a Buddhist attribute, I cannot say, but the impression this movie leaves is profound: Here is an artist who sees things whole.
    • 83 Metascore
    • 90 Peter Rainer
    Spellbindingly original -- Like the wild orchid, Adaptation is a marvel of adaptation, entwined with its hothouse environment and yet stunningly unique.