For 43 reviews, this critic has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 5.7 points lower than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
Average review score: 53
Highest review score: 80 Trust
Lowest review score: 0 Mixed Nuts
Score distribution:
  1. Positive: 16 out of 43
  2. Negative: 8 out of 43
43 movie reviews
    • 57 Metascore
    • 80 Peter Rainer
    Ash's dialogue keeps the movie just goofy enough that even audiences that don't go in for schlock-horror phantasmagorias will be tickled. [19 Feb 1993, Calender, p.F-8]
    • 52 Metascore
    • 80 Peter Rainer
    The drawback to Lynch's pile-it-on method is that it is reductive. One reason Wild at Heart, for all its amazements, isn't quite as stunning as "Blue Velvet" is because it seems less the working out of a single fixed obsession than an entire smear of obsessions. [12 Aug 1990, Calendar, p.29]
    • 59 Metascore
    • 80 Peter Rainer
    But it's essentially a tour de force for Pacino, and he sustains us through the slow passages by working with a closed-in intensity that turns each scene into a kind of mini-movie complete with its own ticking time bomb. [23Dec1992 Pg. 1]
    • 61 Metascore
    • 80 Peter Rainer
    It's so shamelessly obliging that just about every audience of whatever stripe will find something to like in it at least some of the time. It's a confoundingly enjoyable movie because, by all rights, it should be terrible.
    • 54 Metascore
    • 80 Peter Rainer
    There's a hushed, rapturous quality to its best parts, though, and the emotional interplay between Ricky and Marina has a scary immediacy that the movies rarely achieve. Almodovar dares a lot in this film. [4 May 1990]
    • 74 Metascore
    • 80 Peter Rainer
    As well-meaning and "sensitive" as Awakenings is, it never rises much above the level of a grade-A tear-jerker. It achieves most of its effects by tenderizing raw material into something marshmallowy. [20 Dec 1990, p.1]
    • 67 Metascore
    • 80 Peter Rainer
    Hartley has such a spare, controlled touch in this film that this landscape seems both realistic and fantastic. [16 Aug 1991]
    • 76 Metascore
    • 70 Peter Rainer
    Their instincts as filmmakers override their instincts as moralizers. Menace II Society is best--and most shocking--when it just sets out its horrors and lets us find our own way. [26 May 1993, Calendar, p.F-1]
    • 67 Metascore
    • 70 Peter Rainer
    It's a film enthralled by its own lower depths… Although Bad Lieutenant is structured as a redemptive thriller, it functions primarily as a freak show with religioso overtones. [30 Dec 1992, Calendar, p.F-7]
    • 77 Metascore
    • 70 Peter Rainer
    There's nothing much to the movie, except for the amiability of the actors and the layers of feeling Linklater provides, but that's just almost enough.
    • 66 Metascore
    • 70 Peter Rainer
    Russell is unusual among first-time directors in his ability to mold and shape performance. [28 Jul 1994 Pg. F2]
    • 70 Metascore
    • 70 Peter Rainer
    It's sweet and winsome and a little pat, done with just enough feeling to lift it out of its class. [15 Mar 1995, Pg.F5]
    • 72 Metascore
    • 70 Peter Rainer
    The point of this film seems to be that wholesomeness is a sign of maturity, and it partially cancels out the performers. Juliet Stevenson breaks through anyway. She has a charged core, like Judy Davis, and she makes you root for her passage to happiness. [8 May 1991, p.6]
    • 73 Metascore
    • 70 Peter Rainer
    Its stars, Paul Newman and Joanne Woodward, are on screen virtually all of the time, and they're always worth watching. But the film puts such a premium on tastefulness that it never threatens to become exciting. [23 Nov 1990]
    • 55 Metascore
    • 70 Peter Rainer
    Party Girl has the courage of its own no-braininess.
    • 81 Metascore
    • 70 Peter Rainer
    When something heartfelt occurs in this movie, you accept it without too much squirming. The disciplined yet intuitive way in which these actors connect is a model of ensemble performance.
    • 67 Metascore
    • 60 Peter Rainer
    It's a movie about the warm feeling you get when you belong to a family, and, throughout, the thermostat is turned up high.
    • 66 Metascore
    • 60 Peter Rainer
    Directed by Alan Rudolph and co-scripted by him with Randy Sue Coburn, Mrs. Parker is a real odd duck of a movie. It seems to have been made both as tribute and put-down. The sporty conviviality of the Algonquin Round Table is celebrated, and yet there's a hollowness to the confabs.[21 Dec 1994, p.4]
    • 53 Metascore
    • 60 Peter Rainer
    If you're young enough to have missed some of the better Lemmon-Matthau pairings, like "The Fortune Cookie" or "The Odd Couple," then Grumpy Old Men won't seem so grumpy. [25 Dec 1993, p.2]
    • 50 Metascore
    • 60 Peter Rainer
    French Kiss tries to be a glass of pink champagne, but some of the fizz has gone out of the bottle. But director Lawrence Kasdan and screenwriter Adam Brooks cram so many potshots into the piece that, after a while, it makes you laugh anyway.
    • 85 Metascore
    • 60 Peter Rainer
    Nothing that Davies does is ordinary or artless but his craftsmanship has its suffocating side too.
    • 71 Metascore
    • 60 Peter Rainer
    Lee has phenomenal presence, and his movements are so balletically powerful that his rampages seem like waking nightmares. Lee keeps you watching The Crow when you'd rather look away.
    • 56 Metascore
    • 50 Peter Rainer
    The pulpiness is less homage than rip-off. There are no tricks up this film's frayed sleeve… Fatalism plus a lot of heavy breathing, and a flash of skin--it's a winning formula, all right. These movies are like Harlequin Romances for slumming highbrows [12 Oct 1990]
    • 58 Metascore
    • 50 Peter Rainer
    The "Die Hard" series was never exactly big on nuance, but this new installment relentlessly zeros in on sensation. It's almost sadistically single-minded. [19May1995 Pg.F.01]
    • 63 Metascore
    • 50 Peter Rainer
    Depp is rather sweet in portraying Don Juan's self-delusions, but his performance is hampered by the role.
    • 67 Metascore
    • 50 Peter Rainer
    It's a movie for people who really dig Cronenberg's mulchy fixations-and probably for no one else. [27 Dec 1991]
    • 33 Metascore
    • 50 Peter Rainer
    Air America is far from a disgrace, but it's so rare to see a film with this much panoramic verve that you want it to deliver the real goods and not this cargo-load of tinkertoy war-is-heck ironies. [10 Aug 1990]
    • 67 Metascore
    • 50 Peter Rainer
    Director Danny Boyle and screenwriter John Hodge (who is a physician!) keep the action spurting forward, but their approach is oblique. We seem to be catching the odds and ends of scenes; it's as if the filmmakers wanted to make a movie in which all the expected high points were skimped.
    • 28 Metascore
    • 50 Peter Rainer
    But the erotic potential of animation has never been realized and Cool World doesn't even try. [11 Jul 1992]
    • 55 Metascore
    • 50 Peter Rainer
    It too has no particular reason for being (except, of course, to complete the series and cash in). It's sprightly and inoffensive, though. And, for those who care, it satisfyingly ties up the various plot strands that were flapping in the breeze from the last installment. Back to the Future futurists will feel complete. [25 May 1990, p.C1]