For 2,041 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 6.3 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 24 Hour Party People
Lowest review score: 0 I Now Pronounce You Chuck & Larry
Score distribution:
2,041 movie reviews
    • 87 Metascore
    • 83 Peter Rainer
    Garrone's messy storytelling compounds an already messy history. He's a powerful filmmaker, though, and a fearless one.
    • 65 Metascore
    • 83 Peter Rainer
    You could argue, I suppose, that this film, a Sundance hit, is essentially a funny sketch padded out to feature length. And what of it, my man?
    • 89 Metascore
    • 83 Peter Rainer
    The director is fortunate to have cast actors who fully embody their roles. Muehe, who once played Josef Mengele in Costa-Gavras's "Amen," has the ability to let you see far beneath his masklike countenance. Koch, dashing and intense, is entirely believable as a man of the theater; Gedeck exudes a sensuousness that this covert society cannot abide.
    • 96 Metascore
    • 83 Peter Rainer
    As was also true of Pixar's last movie, "Cars," Ratatouille is better at pleasing the eye than the other senses.
    • 82 Metascore
    • 83 Peter Rainer
    Although the film, for the most part, is told from the perspective of the IRA, it does not blithely take its side.
    • 88 Metascore
    • 83 Peter Rainer
    The film drags a bit and Irglova's inexperience as an actor sometimes leaves her costars in the lurch. But it's a sweet little film just the same.
    • 64 Metascore
    • 83 Peter Rainer
    As strong as Blood Diamond is in its best moments, I wish it had been even harder-edged. DiCaprio is remarkable - his work is almost on par with his performance this year in "The Departed."
    • 85 Metascore
    • 83 Peter Rainer
    Sweep aside the gross-outs and you've got the family values comedy of the year.
    • 80 Metascore
    • 83 Peter Rainer
    A prime example of a dysfunctional-family comedy that also doubles as a road movie. Even the vehicle of transport is dysfunctional.
    • 78 Metascore
    • 83 Peter Rainer
    There's something inherently funny about the romantic predicament of Harry and Ron and Hermione. As if it wasn't bad enough having to deal with the Dark Lord and the Death Eaters and all the rest, now they have to square off against... raging hormones.
    • 85 Metascore
    • 83 Peter Rainer
    Vanessa Redgrave, as the adult Briony, appears at the very end in a monologue that rounds out the film with heartbreaking force.
    • 78 Metascore
    • 83 Peter Rainer
    The ending is a set-up for yet another sequel: Can "28 Months Later" be very far away?
    • 88 Metascore
    • 83 Peter Rainer
    Given the subject, the movie is too romanticized, and Christie's eyes remain too sharp here to convincingly convey someone whose memory is fast slipping away. Much of it is powerful anyway.
    • 81 Metascore
    • 83 Peter Rainer
    Craig makes you aware of something that the Bond series, in its pursuit of steamy sex and cartoon action, quickly lost sight of: 007 is a killer. That's what he's licensed to do.
    • 81 Metascore
    • 83 Peter Rainer
    It ranks high on the Cronenberg scale as one of his more disturbing forays into depravity.
    • 58 Metascore
    • 83 Peter Rainer
    The best of it has the comradely, free-swinging bawdiness of Robert Altman's "M*A*S*H."
    • 65 Metascore
    • 83 Peter Rainer
    I wish Fontaine would follow up with a sequel: "Coco After Chanel." Tautou's performance cries out for a second act.
    • 80 Metascore
    • 83 Peter Rainer
    A solid achievement, but those in the press who have been trumpeting its greatness may be going in for a bit of self-congratulation. The movie plays very well to the choir.
    • 60 Metascore
    • 83 Peter Rainer
    No great claims should be made for In Her Shoes. If the aim here was to show how chick lit can become just plain lit, the effort failed. But there is something to be said for froth when it's expertly whipped.
    • 72 Metascore
    • 83 Peter Rainer
    Black, who wrote "Lethal Weapon," makes his directorial debut, and he puts a fresh spin not only on that film but also on a whole slew of films noirs.
    • 71 Metascore
    • 83 Peter Rainer
    The film is better than the recent "The War Within," which tried for the same things, but ultimately, and perhaps unavoidably, we are left face to face with the unknowable.
    • 67 Metascore
    • 83 Peter Rainer
    Plowright's performance as a genteel widow in Mrs. Palfrey at the Claremont is a small-scale gem, deeply felt without being in the least bit showy.
    • 81 Metascore
    • 83 Peter Rainer
    The scenes between Kong and Ann are much more than a goof: They're the soul of the movie.
    • 72 Metascore
    • 83 Peter Rainer
    Rhys-Meyers and Johansson work well together - they both know how to project glossiness and guile.
    • 68 Metascore
    • 83 Peter Rainer
    This film would be better if it wasn't so slick. Still, parts of it are enjoyably shaggy, and Hopkins is very endearing.
    • 83 Metascore
    • 83 Peter Rainer
    This is the most Hitchcockian of Haneke's films. A seemingly well-adjusted man in a well ordered universe is brought to the brink.
    • 52 Metascore
    • 83 Peter Rainer
    It's a classic example of how a movie can be great without, strictly speaking, being good. But when something is this funny, who wants to speak strictly?
    • 63 Metascore
    • 83 Peter Rainer
    Soderbergh does overemphasize the "little-people" dreariness of it all. But there is much low-key humor here, too, albeit on the dark side.
    • 59 Metascore
    • 83 Peter Rainer
    What actors! The great Miriam Margolyes has a wonderful cameo as a scullery maid, and Colin Firth manfully endures a face full of frosting. And then there's Angela Lansbury, playing her first movie role in 20 years as the villainous Aunt Adelaide.
    • 76 Metascore
    • 83 Peter Rainer
    Rothemund's use of the recorded testimony, while it gives his film a startling veracity, also limits his imagination. It prevents him from delving too deeply into the psychology of these activists.