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
    • 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.
    • 76 Metascore
    • 80 Peter Rainer
    It's worth seeing, though, not only for its occasional moments of breathtaking beauty and sadness but also because its very rarity demands it.
    • 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.
    • 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.
    • 75 Metascore
    • 80 Peter Rainer
    There's a new sensibility at work here, wry yet lushly disaffected, and it will be worth watching what Martel does next.
    • 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.
    • 69 Metascore
    • 80 Peter Rainer
    This time around, though, the Coens' usual arch deliberateness isn't quite as deliberate, and there's an appealing shagginess to some of the episodes and performances.... This is the Coen brothers' most emotionally felt movie, and that's not meant as faint praise.
    • 65 Metascore
    • 80 Peter Rainer
    It's a frisky, funny roundelay starring Stefania Sandrelli, and it features enough shouting and arm-waving to power a windmill.
    • 91 Metascore
    • 80 Peter Rainer
    At times it's plodding and inchoate, but there's certainly nothing else like it in the movies right now, and it has at least one great sequence.
    • 75 Metascore
    • 80 Peter Rainer
    The dramatic arc of Roger Dodger may be banal, but Kidd manages some marvelous moments.
    • 54 Metascore
    • 80 Peter Rainer
    Connery and Zeta-Jones not only look great together, they work well together.
    • 83 Metascore
    • 80 Peter Rainer
    When it comes time for some of the girls to flee, the result is one of the most emotionally satisfying of all prison breaks.
    • 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.
    • 78 Metascore
    • 80 Peter Rainer
    Much more kid-oriented than any other computer-animated movie thus far. In other words, it's much more Disneyish. I enjoyed it.
    • 85 Metascore
    • 80 Peter Rainer
    Harrowingly straightforward.
    • 60 Metascore
    • 80 Peter Rainer
    Barrymore pulls off the neatest trick of the year: She makes all this pop schlock matter.
    • 63 Metascore
    • 80 Peter Rainer
    This is not just a musicologist's dream; it's our dream, too.
    • 68 Metascore
    • 80 Peter Rainer
    Bob is a marvelous creation--a faker who is also the genuine article. He’s the perfect hero for a movie about the world as one big scam.
    • 60 Metascore
    • 80 Peter Rainer
    A hushed and powerful piece.
    • 86 Metascore
    • 80 Peter Rainer
    It’s a hyper-aestheticized meditation on the meaning of history, visually astonishing, dramatically stilted. No masterpiece, but quite a feat (and quite effete).
    • 57 Metascore
    • 80 Peter Rainer
    The real passion here is the almost erotic thrill that acting still holds for Moreau.
    • 79 Metascore
    • 80 Peter Rainer
    Haneke is an exploitation filmmaker of the highest gifts. His movies are not to be entered into lightly.
    • 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.
    • 82 Metascore
    • 80 Peter Rainer
    Spacious, headlong entertainment.
    • 53 Metascore
    • 80 Peter Rainer
    Trashy and lurid as this movie is, it’s certainly not boring, and it keeps its star in hog heaven throughout.
    • 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
    The mystery of the artistic process is left mysterious -- as it should be.
    • 70 Metascore
    • 80 Peter Rainer
    On a purely visceral level, Training Day is easily the most exciting movie out there right now, but as a morality tale with anything large on its mind, it's a cop-out.
    • 86 Metascore
    • 80 Peter Rainer
    Field made a thriller about what we are capable of in the name of hatred -- and of love.
    • 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.