For 2,063 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 Ernest & Célestine
Lowest review score: 0 The Green Hornet
Score distribution:
2,063 movie reviews
    • 65 Metascore
    • 83 Peter Rainer
    Destined to become this year's love-it-or-hate-it movie. Is it OK to say I merely liked it a lot?
    • 79 Metascore
    • 83 Peter Rainer
    Eastwood has made an honorable movie about honor, but the naivete of the conception - which some will call purity - keeps "Flags" at arm's length from greatness.
    • 62 Metascore
    • 83 Peter Rainer
    Philip Noyce's anti-apartheid drama is tense and thoughtful, if somewhat marred by Hollywood-style thrills.
    • 74 Metascore
    • 83 Peter Rainer
    This computer-animated feature is consistently inventive, if a bit busy and overlong.
    • 84 Metascore
    • 83 Peter Rainer
    I have always felt that Almodóvar was at his best as an artist when he was at his most playful. Volver is about deadly serious matters of the heart, but it often has a screwball spirit. The darker things are, the funnier.
    • 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.
    • 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.
    • 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."
    • 82 Metascore
    • 83 Peter Rainer
    The screenplay is by Hanif Kureishi, who wrote "The Mother" for Michell and also scripted the classic "My Beautiful Laundrette." He has a feeling for outsiders.
    • 57 Metascore
    • 83 Peter Rainer
    In addition to being a beloved author and illustrator, Beatrix is also presented as an early feminist and environmentalist who took control of her literary empire and saved vast acres of luscious farmland from greedy developers, eventually bequeathing property to Britain's National Trust.
    • 65 Metascore
    • 83 Peter Rainer
    The cast is something of an indie movie hall of fame that includes Giovanni Ribisi, Mary Steenburgen, Brittany Murphy, and Toni Collette. Marcia Gay Harden is particularly fine as the murdered girl's mother.
    • 68 Metascore
    • 83 Peter Rainer
    Burton is extraordinary in one of his rare good movie roles and O'Toole is regally madcap and larger than life. No doubt his Oscar-nominated appearance in "Venus" has prompted this rerelease of Becket. They make a fascinating then-and-now combination.
    • 74 Metascore
    • 83 Peter Rainer
    Without Cooper's performance, Breach would have been a good, workmanlike thriller. His presence lifts it to a whole new level.
    • 57 Metascore
    • 83 Peter Rainer
    Color Me Kubrick is a far more modest movie, but in some ways is more successful than "The Hoax" in conveying how deeply people want to believe something is true against all evidence.
    • 73 Metascore
    • 83 Peter Rainer
    Nobody can play stupid better than Daniels – think "Dumb and Dumber" – and, as it turns out, few can play smarter. He's a sharp asset in a sharp movie.
    • 77 Metascore
    • 83 Peter Rainer
    In all, it's a fun exercise in nostalgia but a three-hour homage to grade Z movies is a long sit. Grunge overload sets in early.
    • 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.
    • 66 Metascore
    • 83 Peter Rainer
    The best episodes have the emotional resonance of full-length features, and yet I didn't want them to be a moment longer than they are.
    • 78 Metascore
    • 83 Peter Rainer
    The ending is a set-up for yet another sequel: Can "28 Months Later" be very far away?
    • 66 Metascore
    • 83 Peter Rainer
    Kazi is a bundle of energy, and the film touches on an important and often-overlooked issue: The commercial pressure that is often brought to bear on rappers to be scurrilous and offensive. This project, which was produced by Bruce Willis and Queen Latifah, shows that there is another way.
    • 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.
    • 85 Metascore
    • 83 Peter Rainer
    Sweep aside the gross-outs and you've got the family values comedy of the year.
    • 74 Metascore
    • 83 Peter Rainer
    Barring a middle-class revolt, it's extremely unlikely that, whatever its virtues, universal healthcare could ever take hold in America. Still, I'm glad Moore made his film.
    • 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.
    • 64 Metascore
    • 83 Peter Rainer
    The back-and-forth between the performers is tensely choreographed, and Buscemi does a good job opening up the action, which mostly takes place in a Manhattan loft.
    • 66 Metascore
    • 83 Peter Rainer
    Danes doesn't quite fit into the mindscape – she's too bland for a human star – but Cox comes of age quite convincingly, De Niro is a hoot, as is Ricky Gervais as a slimy tradesman. Pfeiffer has a field day.
    • 76 Metascore
    • 83 Peter Rainer
    What Alfred Hitchcock once said about thrillers also applies to Westerns: The stronger the bad guy, the better the film. By that measure, 3:10 to Yuma is excellent.
    • 68 Metascore
    • 83 Peter Rainer
    I wish this movie wasn't so purposefully elegiac and attenuated – at times it's like a middling Terrence Malick fantasia – but it's well worth sitting through.
    • 59 Metascore
    • 83 Peter Rainer
    It's awfully difficult at this point in film history to come up with a car chase that's startlingly new, but Gray pulls it off. It's the best of its kind since "The French Connection."
    • 68 Metascore
    • 83 Peter Rainer
    The filmmaking style is annoyingly slick, but the testimonies of these children are excruciatingly moving.

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