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 Harry Potter and the Prisoner of Azkaban
Lowest review score: 0 She Hate Me
Score distribution:
  1. Negative: 55 out of 468
468 movie reviews
    • 73 Metascore
    • 70 Peter Rainer
    Disney's Lilo & Stitch, which is animated in the traditional way, with watercolor backgrounds, is lovely, and funny, too. It owes a great deal to Japanese anime, but there's also a "Looney Tunes" friskiness to it that's distinctively homegrown.
    • 78 Metascore
    • 70 Peter Rainer
    del Toro blends agit-prop politics and ghoulishness without making the entire enterprise seem silly.
    • 61 Metascore
    • 70 Peter Rainer
    Taut and straightforward and a little grungy, which is how these movies ought to be.
    • 56 Metascore
    • 70 Peter Rainer
    Max
    Noah Taylor does startlingly well by this role, but the conceit behind the film is a bizarre piece of wish-fulfillment.
    • 65 Metascore
    • 70 Peter Rainer
    If the bad guys in the real world were all this obvious, life would be a whole lot easier.
    • 76 Metascore
    • 70 Peter Rainer
    By continually interrupting the sequences of the adult couple with scenes of the young pair, Eyre shatters the emotional power of Dench and Broadbent.
    • 77 Metascore
    • 70 Peter Rainer
    Eminently disposable, but that's its charm. It stays with you just long enough to make you smile.
    • 83 Metascore
    • 70 Peter Rainer
    A kind of psychological whodunit, but without the thrills. The clue-making is rather desultory, as if Cronenberg were indulging a narrative strategy he didn’t really care for.
    • 78 Metascore
    • 70 Peter Rainer
    A pretty good documentary about a great subject.
    • 72 Metascore
    • 70 Peter Rainer
    In the scenes between Hanks and Newman, we get glimpses of greatness.
    • 56 Metascore
    • 70 Peter Rainer
    It’s both lowdown and effete, a jamboree of whoopee jokes and sick wit.
    • 69 Metascore
    • 70 Peter Rainer
    More entertaining than it has a right to be. It's pulpy and preposterous, and yet it gets at a real truth.
    • 67 Metascore
    • 70 Peter Rainer
    Costner is always at his best when he’s a little ornery, and Duvall is the same way. His grizzled performance is so thoroughly in character that he even chews as if it were 1882.
    • 61 Metascore
    • 70 Peter Rainer
    Tends to settle for easy, homiletic insights. But it also has a collection of first-rate performances by some marvellous actresses.
    • 73 Metascore
    • 70 Peter Rainer
    At its most basic level, Cast Away is a graceful and powerfully rendered survivalist saga.... And yet there's something generic about Chuck's plight. The filmmakers don't opt for the usual happy-face Hollywood ending, but even the half-smile they provide smacks of inspirationalism.
    • 76 Metascore
    • 70 Peter Rainer
    Reygadas is both a sophisticate and a primitive: He sets up his film as a religious allegory, with the nameless painter as a kind of suffering Christ and the old woman--whose name is Ascen, as in Ascension--as his redeemer.
    • 81 Metascore
    • 70 Peter Rainer
    The director of "Gallipoli" and "The Year of Living Dangerously" has muffled the rage and darkness of his best work in favor of an antiquated pleasingness. Master and Commander is a too-comfy classic.
    • 73 Metascore
    • 70 Peter Rainer
    Complicated thriller that gets more interesting as its complications pile up.
    • 59 Metascore
    • 70 Peter Rainer
    Cunningham's depth of feeling transformed the book's premise into something beyond sniggers or camp, and the best moments in the movie, which was directed by theater veteran Michael Mayer in his film debut and adapted by Cunningham, have a similar emotional charge.
    • 64 Metascore
    • 70 Peter Rainer
    Crudup, whose features have the appropriate delicacy, plays Ned with complete conviction; it’s difficult to imagine anyone else succeeding as well.
    • 69 Metascore
    • 70 Peter Rainer
    Jeunet wants us to know that times are hard for dreamers and that one shouldn't pass up a chance for true love. He means it, no doubt, but he doesn't have the simplicity of soul to quite bring off the sentiment. Still, we're charmed by the attempt.
    • 61 Metascore
    • 70 Peter Rainer
    An ungainly, intermittently harrowing omnibus filled with moments of piercing sorrow and rage.
    • 80 Metascore
    • 70 Peter Rainer
    One of the glummest and most forbidding thrillers ever.
    • 78 Metascore
    • 70 Peter Rainer
    Too much of this fantasy is filled out with artsy folderol, but it's a movie like no other--except, maybe, one by Guy Maddin.
    • 70 Metascore
    • 70 Peter Rainer
    Freaky Friday gives Curtis the chance to go all goofy and showcase her gift for splayed physical comedy.
    • 44 Metascore
    • 70 Peter Rainer
    The Village is a better movie (than Signs) --probably his best since "The Sixth Sense"--but it indulges Shyamalan's penchant for messianic uplift.
    • 65 Metascore
    • 70 Peter Rainer
    In political terms, True Crime is a far cry from "Dirty Harry" -- it actually stands up for due process of law. In Hollywood, I believe this is known as mellowing.
    • 64 Metascore
    • 70 Peter Rainer
    Eastwood's earnestness has its own stoic charm. There's something nutty but also heroic in how he plays this macho-man-with-the-heart-of-a-woman premise with a straight face.
    • 72 Metascore
    • 70 Peter Rainer
    Stunning, and it has the added bonus of being about an era that is virtually new to movies. As a dramatic achievement, however, it is not quite so amazing.
    • 76 Metascore
    • 70 Peter Rainer
    For all its high-end ambitions, This So-Called Disaster has a tabloid-TV-like appeal: We want to see if these volatile performers get on each other's nerves.