For 468 reviews, this critic has graded:
  • 35% higher than the average critic
  • 3% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
Average review score: 60
Highest review score: 100 Spirited Away
Lowest review score: 0 She Hate Me
Score distribution:
  1. Negative: 55 out of 468
468 movie reviews
    • 86 Metascore
    • 80 Peter Rainer
    Creepily evocative.
    • 63 Metascore
    • 80 Peter Rainer
    Has a poignant undertone: We may feel we already know in our bones just how suffocating this culture is; but the people who made this movie seem to be discovering each fresh horror for the first time. It's like watching a virgin sacrifice.
    • 57 Metascore
    • 80 Peter Rainer
    The real passion here is the almost erotic thrill that acting still holds for Moreau.
    • 80 Metascore
    • 80 Peter Rainer
    Unsatisfying at a very high level. It fritters away more than most movies ever offer up.
    • 78 Metascore
    • 80 Peter Rainer
    Scattershot but rousing documentary.
    • 79 Metascore
    • 80 Peter Rainer
    Although Junge had consulted with a few historians and moviemakers over the years, she had never really unburdened herself, and this 90-minute documentary is a devastating act of personal confession.
    • 78 Metascore
    • 80 Peter Rainer
    Terence Davies's The House of Mirth is a rigorously elegant adaptation of the Edith Wharton novel, and unlike in some other Davies movies, the rigor here doesn't turn into rigor mortis.... This is dourness of a degree you won't find in Wharton, but in its own shadowed terms the film is a triumph.
    • 79 Metascore
    • 80 Peter Rainer
    The Korean director im Kwon-Taek has made more than 90 films since his first in 1962, and perhaps this explains why his latest, Chunhyang, seems so effortless and masterly. Based on a highly popular eighteenth-century Korean folktale, it's a movie that, stylistically, mixes the traditional with the avant-garde; the narrative may be ritualistic, but there's a let's-try-it-on-for-size friskiness to the filmmaking.
    • 68 Metascore
    • 80 Peter Rainer
    Berri is very good at bringing out his characters' emotional contradictions so that we seem to be discovering them right along with Jacques and Laura.
    • 83 Metascore
    • 80 Peter Rainer
    There's a timelessness, an immanence to what she (Varda) shows us.
    • 71 Metascore
    • 80 Peter Rainer
    If Penn really lets these actors sing, his watchful camera also knows how to respect their silences.
    • 71 Metascore
    • 80 Peter Rainer
    Showcases some of the world’s finest and funniest actors having a high old time. It’s best enjoyed as a kind of traveling music-hall revue.
    • 66 Metascore
    • 80 Peter Rainer
    The film starts out as a freewheeling farce and turns into a pitch-black burlesque with surprising depths of feeling.
    • 59 Metascore
    • 80 Peter Rainer
    This is no antique show: Faced with an audience, they are still amazingly vital and sometimes amazingly lewd.
    • 76 Metascore
    • 80 Peter Rainer
    Refreshingly uncategorizable: It’s somewhere between a marital-discord drama and a mystery thriller, but it also has its madcap moments.
    • 73 Metascore
    • 80 Peter Rainer
    Audiences for this film should have no such qualms: When the camel lolls his jaws at dinnertime, or sways his Bactrian bulk, you may decide you've never seen anything quite so hilarious -- or magnificent.
    • 72 Metascore
    • 80 Peter Rainer
    A marvelous literary thriller that gets at the way books can stay with people forever.
    • 85 Metascore
    • 80 Peter Rainer
    Harrowingly straightforward.
    • 73 Metascore
    • 80 Peter Rainer
    By the end of the movie, the characters are numbed, while the audience is sensitized to the mayhem to an almost unbearable degree.
    • 64 Metascore
    • 80 Peter Rainer
    The film becomes cumulatively stranger as it goes along, and it has a lulu of a kicker.
    • 59 Metascore
    • 80 Peter Rainer
    By the end of the film, everybody has been triple- and quadruple- and even quintuple-crossed, but the characters still standing all seem to be very pleased with themselves for a job well done. If only we could figure out what the job was exactly.
    • 68 Metascore
    • 80 Peter Rainer
    Office Space is so enjoyable that you wish it were even better...Once the scheme to bilk Initech is set in motion, the off-kilter humor flattens into a take-this-job-and-shove-it thing, and the ending seems pooped-out.
    • 79 Metascore
    • 80 Peter Rainer
    Haneke is an exploitation filmmaker of the highest gifts. His movies are not to be entered into lightly.
    • 83 Metascore
    • 80 Peter Rainer
    Rarely has there been so obscenely precise a depiction of ravaged innocence. This young girl has nothing to live for--and an entire life ahead of her in which to live it.
    • 57 Metascore
    • 80 Peter Rainer
    Fortunately, it never dips into bathos. These two actors SHOULD be noticed. They've crafted the most ingenious résumé of the year.
    • 63 Metascore
    • 80 Peter Rainer
    This is not just a musicologist's dream; it's our dream, too.
    • 78 Metascore
    • 80 Peter Rainer
    A startling achievement, but its lack of psychological dimension prevents it from making much human contact with us. It ends where it begins: in a state of shock.
    • 68 Metascore
    • 80 Peter Rainer
    An elaborate techno-heist thriller, The Italian Job features some spectacular chase scenes, but for a change, the people doing the chasing are also worth watching.
    • 83 Metascore
    • 80 Peter Rainer
    It all adds up to a searing portrait of social misery.
    • 53 Metascore
    • 80 Peter Rainer
    Still, in its own Saturday-morning-serial kind of way, Attack of the Clones is a commendable example of the sort of movie we once loved and then outgrew. Of course, if it was even better, we wouldn't feel as if we'd outgrown it.