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 Gosford Park
Lowest review score: 0 Enough
Score distribution:
  1. Negative: 55 out of 468
468 movie reviews
    • 84 Metascore
    • 90 Peter Rainer
    The Pinochet Case is a searing album of remembrance from those who, having survived, suffered most.
    • 77 Metascore
    • 90 Peter Rainer
    A movie that really zips along; it offers some of the same pleasures as the silent slapstick comedies, particularly the Keaton films, with their sense of how sheer velocity carries its own wit.
    • 79 Metascore
    • 90 Peter Rainer
    A flashy, nasty triumph
    • 75 Metascore
    • 90 Peter Rainer
    Sophisticated and nuanced, and every character is bursting with emotional contradictions.
    • 85 Metascore
    • 90 Peter Rainer
    Belzberg doesn't intervene during the moments of violence, believing that the film can force social change only by showing the worst. If she is correct, then this film should move mountains.
    • 91 Metascore
    • 90 Peter Rainer
    At its best, the film compares favorably to its obvious antecedents, "Rififi" (which Melville once hoped to direct) and "The Asphalt Jungle."
    • 77 Metascore
    • 90 Peter Rainer
    What it's really about is the euphoria that talent can bring to those who are possessed by it. That euphoria lights up the screen.
    • 84 Metascore
    • 90 Peter Rainer
    Beautifully directed by Phillip Noyce, the film -- is a full experience, a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence.
    • 84 Metascore
    • 90 Peter Rainer
    The script, instead of being what we tolerate in order to savor the visuals, is a delight all by itself.
    • 73 Metascore
    • 90 Peter Rainer
    A first-rate zombie movie. The best tribute I can offer is that it makes you want to go out directly afterward and down some expensive single-malt scotch.
    • 83 Metascore
    • 90 Peter Rainer
    Spellbindingly original -- Like the wild orchid, Adaptation is a marvel of adaptation, entwined with its hothouse environment and yet stunningly unique.
    • 81 Metascore
    • 90 Peter Rainer
    Achingly funny movie...Guest has cultivated a stock company of players whose work together is so intuitively sharp that it seems to redefine the boundaries of acting.
    • 89 Metascore
    • 90 Peter Rainer
    Coppola both wrote and directed, and there’s a pleasing shapelessness to her scenes. She accomplishes the difficult feat of showing people being bored out of their skulls in such a way that we are never bored watching them.
    • 82 Metascore
    • 90 Peter Rainer
    Linklater, whose previous movies include "Slacker," "Before Sunrise," and "Waking Life," may be the most versatile director of his generation. School of Rock is his most unabashedly mainstream movie by far, and yet it’s commercial in the best way.
    • 82 Metascore
    • 90 Peter Rainer
    The jamboree is beautifully shot and directed, by Chris Menges and David Leland respectively, and there is a haunting touch: the presence of George’s son, Dhani, on guitar, looking near-identical to his dad in his twenties.
    • 84 Metascore
    • 90 Peter Rainer
    Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
    • tbd Metascore
    • 90 Peter Rainer
    It’s a magical little movie about a most unmagical subject.
    • 73 Metascore
    • 90 Peter Rainer
    Tsunashima gives a deft performance in a role that starts out as caricature but becomes full-bodied. Collette commands the screen virtually the entire time.
    • 94 Metascore
    • 90 Peter Rainer
    What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
    • 82 Metascore
    • 90 Peter Rainer
    As a piece of inspirationalism about human stamina, Touching the Void is peerless, but what it doesn't--perhaps can't--explain is why people place themselves in such peril.
    • 85 Metascore
    • 90 Peter Rainer
    Kim exalts nature--life’s passage--without stooping to sentimentality. He sees the tooth and claw, and he sees the transcendence. Whether this is a Buddhist attribute, I cannot say, but the impression this movie leaves is profound: Here is an artist who sees things whole.
    • 82 Metascore
    • 90 Peter Rainer
    Free speech isn't merely a shibboleth in The Agronomist. As embodied by Dominique, it's a fire-breathing force.
    • 71 Metascore
    • 90 Peter Rainer
    Most of the time we are with Cruise and Foxx, and their interplay is never less than galvanizing.
    • 79 Metascore
    • 90 Peter Rainer
    While making his new film, he (McElwee) imagines that his boy is looking back at his screen image from some distant point in the future, when McElwee himself is gone. No child of a moviemaker could ask for a more beautiful bequest.
    • 71 Metascore
    • 80 Peter Rainer
    If Penn really lets these actors sing, his watchful camera also knows how to respect their silences.
    • 80 Metascore
    • 80 Peter Rainer
    Unsatisfying at a very high level. It fritters away more than most movies ever offer up.
    • 83 Metascore
    • 80 Peter Rainer
    There's a timelessness, an immanence to what she (Varda) shows us.
    • 79 Metascore
    • 80 Peter Rainer
    What she (Ullmann) does achieve is a couple of scenes of lacerating power.
    • 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.
    • 74 Metascore
    • 80 Peter Rainer
    The first full-scale documentary about the history of those years, and it lays out lucidly the involvement of the Communist Party in the young men's defense and the ways in which the trials, against the backdrop of the Depression, replayed the murderous quarrels of the Civil War all over again.