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 Late Marriage
Lowest review score: 0 She Hate Me
Score distribution:
  1. Negative: 55 out of 468
468 movie reviews
    • 61 Metascore
    • 70 Peter Rainer
    It's still possible to have a good time at this movie, and the primary reason is De Niro.
    • 57 Metascore
    • 70 Peter Rainer
    Powerful, uneven police drama.
    • 45 Metascore
    • 70 Peter Rainer
    The emotional resolutions aren't pat, exactly. But they're not messy either, and for material this inherently volatile, that seems like a cheat.
    • 67 Metascore
    • 70 Peter Rainer
    I much prefer the whacked-out, Dr. Strangelove-ish brand of political-apocalypse film to all this straitlaced you-are-there dramaturgy, which seems a throwback to the early sixties not only in time but in spirit. But what Thirteen Days sets out to do it does admirably.
    • 74 Metascore
    • 70 Peter Rainer
    Arkin has a great and gentle feeling for small-time malcontents, and he knows how to make their woes our own. He does justice to the human comedy -- and redeems the movie.
    • 86 Metascore
    • 70 Peter Rainer
    As with much of Soderbergh's avant-garde work, his garde isn't quite as avant as he would have us believe it is. Still, Soderbergh's jazzed stylistics can be smartly entertaining. Without them, an uneven movie like Traffic might seem more of a mélange than it already is.
    • 49 Metascore
    • 70 Peter Rainer
    The hang-loose grodiness of these films has its charms, and the Ray-Banned team of Will Smith and Tommy Lee Jones, at its best, is good vaudeville.
    • 66 Metascore
    • 70 Peter Rainer
    Cory Yuen's So Close is a kind of Hong Kong martial-arts variation on the Charlie's Angels movies, only better.
    • 86 Metascore
    • 70 Peter Rainer
    A prime piece of whirlybird filmmaking, and the technique saps what might have been a powerful experience.
    • 78 Metascore
    • 70 Peter Rainer
    The best thing about Insomnia is that despite director Christopher Nolan's soft spot for moody-blues obfuscation, he has the good sense to keep his star in practically every shot.
    • 67 Metascore
    • 70 Peter Rainer
    Our familiarity with the actors, and their comfort in this period setting, lend the piece an unexpected air of naturalism.
    • 59 Metascore
    • 70 Peter Rainer
    It's a pure (guilty) pleasure trip. That's pleasure, De Palma–style -- twisted, dirty, voyeuristic, a vast glissando of amorality.
    • 72 Metascore
    • 70 Peter Rainer
    It all works on the level of a sprightly sitcom: lesbianism for the Lucy-and-Ethel crowd.
    • 82 Metascore
    • 70 Peter Rainer
    Parts of this film are as blandly lulling as a mood tape, but at best it’s a literally soaring experience.
    • 69 Metascore
    • 70 Peter Rainer
    A fine example of what a filmmaker can achieve when she takes on a great subject and lets it play out with all the respect and attention it deserves.
    • 62 Metascore
    • 70 Peter Rainer
    Caine is burlesquing his own iconography and enjoying every minute of it. He hasn't lost his dignity, though; it takes a lot of self-possession to act this blissfully silly. He even looks good with bad teeth.
    • 75 Metascore
    • 70 Peter Rainer
    As in many a French movie, especially crime movie, the philosophe and the crook turn out to be each other’s mirror image.
    • 72 Metascore
    • 70 Peter Rainer
    Watching this movie, you get the feeling that the Depression existed so that Seabiscuit could be memorialized.
    • 75 Metascore
    • 70 Peter Rainer
    Excruciatingly vivid.
    • 80 Metascore
    • 70 Peter Rainer
    Entertaining documentary.
    • 67 Metascore
    • 70 Peter Rainer
    The film was adapted from a 1993 novel by Robert Bober, who drew on his own childhood experiences, and as it unwinds, one begins to appreciate Deville's desire to see things work out well for these people.
    • 64 Metascore
    • 70 Peter Rainer
    At its best in the interludes between explosions.
    • 70 Metascore
    • 70 Peter Rainer
    Hoffman has his specialty, though, and it’s not inappropriate here: He always looks supersmart and yet his reactions to what goes on around him are superslow.
    • 51 Metascore
    • 70 Peter Rainer
    Noé shoots his sequences in long, unbroken takes, and the unblinking horror that results is, I think, the opposite of exploitation. There has been so much lurid bloodletting in the movies that you might think nothing could faze us anymore. Think again.
    • 68 Metascore
    • 70 Peter Rainer
    I'm all for films that don't flow from the usual Hollywood test tubes, but A Civil Action is basically the standard formula with a dash of downbeat.
    • 79 Metascore
    • 70 Peter Rainer
    Mamet doesn't take the material as far as it can go -- we're left with a pleasing fable about the battle of the sexes and the virtues of persistence in a just cause. The neatness of it all is both appealing and appalling, and perhaps this combo is what finally hooked Mamet.
    • 79 Metascore
    • 70 Peter Rainer
    Rivette keeps the life-is-a-play metaphysics to a minimum, and the cast, including Jeanne Balibar and Sergio Castellitto, is attractive.
    • 69 Metascore
    • 70 Peter Rainer
    The usual Sayles mix of torpor and talent prevails here.
    • 76 Metascore
    • 70 Peter Rainer
    Breezily enjoyable but thin.
    • 80 Metascore
    • 70 Peter Rainer
    In this otherwise rather schematic swatch of social catharsis, Brazil's Fernanda Montenegro gives the best performance by an actress I've seen all year.