For 2,321 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 5.1 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Big Risk
Lowest review score: 0 Final Destination 3
Score distribution:
2321 movie reviews
    • 90 Metascore
    • 100 Peter Rainer
    In Panahi's case, he is insuperably handicapped by his current constraints. And yet, despite everything, here is This Is Not a Film, which is emphatically a film – and an extraordinary one.
    • 87 Metascore
    • 100 Peter Rainer
    This is a Holocaust movie that is so relentlessly observed and so aware of woe that it never feels like it belongs to a genre.
    • 55 Metascore
    • 100 Peter Rainer
    And yet the great conundrum of the Holocaust is that it was perpetrated by human beings, not monsters. Few movies have rendered this puzzle so powerfully.
    • 74 Metascore
    • 100 Peter Rainer
    Amir Bar-Lev's documentary is fascinating on all kinds of levels: as a movie about the nature of art, the lure and pitfalls of celebrity, and the complicated conundrums of parenting.
    • 70 Metascore
    • 100 Peter Rainer
    A rare example of first-rate filmed opera.
    • 77 Metascore
    • 100 Peter Rainer
    A lousy title for a marvelous movie.
    • 94 Metascore
    • 100 Peter Rainer
    A lyrical, yet intensely rooted, tragic vision.
    • 91 Metascore
    • 100 Peter Rainer
    Helen Mirren gives the mostly subtly expressive performance based on a living historical figure that I've ever seen.
    • 80 Metascore
    • 100 Peter Rainer
    A quintessential Mike Leigh performance. It deepens as it goes along until, in the end, in its final close-up, it overwhelms.
    • 88 Metascore
    • 100 Peter Rainer
    On the personal betrayals that accompany Capote's ache for literary transcendence. The betrayals were necessary to create "In Cold Blood." This is why Capote is such an unsettlingly ambiguous experience.
    • 83 Metascore
    • 100 Peter Rainer
    A marvelous documentary that brings home the terror and heroism brought forth by the Katrina debacle.
    • 94 Metascore
    • 100 Peter Rainer
    Before Midnight is the fullest and richest and saddest of the three movies in the trilogy. Make it a quartet, I say.
    • 86 Metascore
    • 100 Peter Rainer
    It's a transcendently uplifting tragedy.
    • 95 Metascore
    • 100 Peter Rainer
    A Separation is not the work of a constrained artist. It's a great movie in which the full range of human interaction seems to play itself out before our eyes.
    • 83 Metascore
    • 100 Peter Rainer
    I have rarely seen a movie that better expressed the revivifying nature of music. (Many of the women, not surprisingly, grew up singing gospel in church choirs and had preachers for parents.)
    • 72 Metascore
    • 100 Peter Rainer
    This is a startlingly funny portrait of Gothic Americana.
    • 80 Metascore
    • 100 Peter Rainer
    Improbably, it's one of the most affecting films of the year, which once again demonstrates that all you need to make a good movie is talent.
    • 82 Metascore
    • 100 Peter Rainer
    The most powerfully entrancing children's film in years. Of course, a true kid's classic is just as magical for adults.
    • 94 Metascore
    • 100 Peter Rainer
    The most deeply and mysteriously satisfying animated feature to come along in ages.
    • 89 Metascore
    • 100 Peter Rainer
    Perhaps the most cogent and straightforward dissection of the Bush Administration missteps leading up to the current Iraq nightmare.
    • 80 Metascore
    • 100 Peter Rainer
    Troell, at 78, continues to turn out films that will last for as long as there are movies. No wonder he feels such a deep connection to Maria in Everlasting Moments. The film is one hero's salute to another.
    • 100 Metascore
    • 100 Peter Rainer
    It’s the ultimate time-travel movie into the future, a “flowing time sculpture,” in Linklater’s own words.
    • 88 Metascore
    • 100 Peter Rainer
    Jackson has a genuine epic gift: Few filmmakers have ever given gross-outs such resplendence.
    • 80 Metascore
    • 100 Peter Rainer
    There is no need for Murmelstein to break down here. In The Last of the Unjust, it’s as if the whole world is weeping.
    • 77 Metascore
    • 100 Peter Rainer
    I also wonder if the film’s central thesis – that the debates kicked off the subjective TV news slant we have today – is a bit oversold. If these debates had never happened, I think we would very likely still have exactly what we have today. Partisan hollering sells.
    • 87 Metascore
    • 100 Peter Rainer
    The result is an unprecedented voyage into the tortuous life of our greatest actor, with the actor himself serving as narrator and navigator, as dissembler and penitent.
    • 86 Metascore
    • 100 Peter Rainer
    The Red Turtle benefits from being open to all sorts of possibilities and interpretations because we sense that Dudok de Wit respects our imaginings. He allows them to take shape right alongside his own.
    • 86 Metascore
    • 100 Peter Rainer
    Fan's camera moves sinuously through these people's lives and gives a human face to a national panorama.
    • 84 Metascore
    • 100 Peter Rainer
    A first-rate crime thriller from 1960.
    • 92 Metascore
    • 100 Peter Rainer
    Leviathan is, in the widest sense, a horror film.

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