For 2,194 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 6 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Secret World of Arrietty
Lowest review score: 0 License to Wed
Score distribution:
2194 movie reviews
    • 84 Metascore
    • 91 Peter Rainer
    By the film’s end, the main protagonists have become more philosophical, if no less ardent, about the future of Egypt. “We are not looking for a leader,” Hassan declares. “We are looking for a conscience.” He has only to look in the mirror.
    • 92 Metascore
    • 91 Peter Rainer
    In top form, Joel and Ethan Coen offer up feel-bad experiences that, like fine blues medleys, make you feel good (although with an acidulous aftertaste). Inside Llewyn Davis is one of their best. So many movies are emblazoned with happy faces; this one wears its sadness, and its snarl, proudly.
    • 76 Metascore
    • 91 Peter Rainer
    What Tim’s Vermeer is really about is two geniuses, of very different sorts, communing across time and space.
    • 74 Metascore
    • 91 Peter Rainer
    Interviewed in the film, Juárez journalist Sandra Rodriguez offers up this grim summation: “That these people represent the ideal of success, impunity, and limitless power is symptomatic of how defeated we are as a society.”
    • 85 Metascore
    • 91 Peter Rainer
    One of the most dreamily unsettling documentaries ever made.
    • 87 Metascore
    • 91 Peter Rainer
    Particle Fever doesn’t prompt us to say: “Gee, these superbrains are just like us, except for the brains.” The film allows for our awe. It also demonstrates that science is the most human of activities, with all that that implies.
    • 91 Metascore
    • 91 Peter Rainer
    Ida
    What comes through so powerfully in this movie is a portrait of an entire generation making its way from death throes to new beginnings.
    • 87 Metascore
    • 91 Peter Rainer
    One of the funniest and happiest movies I’ve ever seen about early adolescent girls and their wayward, fitful joyousness.
    • 75 Metascore
    • 91 Peter Rainer
    Night Moves may have a soft, almost dreamy feel, but at the core it’s crucially hard-headed. In its own quiet way, in how it pulls together our utopian ideals and home-grown fears, it’s the zeitgeist movie of the moment.
    • 67 Metascore
    • 91 Peter Rainer
    Whatever the case, the film resounds with hyperbolic passion. Hot bubbling currents flow through this film’s constricted veins.
    • 77 Metascore
    • 91 Peter Rainer
    Since music is so much more than music between these two, their filmed sessions resemble not so much rehearsals as communions.
    • 72 Metascore
    • 91 Peter Rainer
    Since we all know that Paris wasn’t blown to smithereens, the tension here is not in the outcome but in how it was achieved. The meeting between these two men is largely fictional, but the stakes could not have been more real.
    • 85 Metascore
    • 91 Peter Rainer
    Edet Belzberg’s documentary Watchers of the Sky, which was a decade in the making, reclaims the reputation of Raphael Lemkin, a Polish Holocaust refugee who not only coined the term “genocide” but also invented the concept of categorizing mass murder as an international crime.
    • 87 Metascore
    • 91 Peter Rainer
    Force Majeure is ultimately about something not often explored in film: the consequences of male weakness in a world in which men are expected to be strong at all times.
    • 88 Metascore
    • 91 Peter Rainer
    The larger point in Citizenfour is that dictatorships have always relied on the massive gathering of information in order to control their populations. In this brave new cyber world, it is all too easy for democracies to cross the line, too.
    • 89 Metascore
    • 91 Peter Rainer
    Jesse Moss’s documentary The Overnighters is being hailed as a modern-day “Grapes of Wrath,” which, up to a point, it is. But it’s far more complicated than that.
    • 89 Metascore
    • 91 Peter Rainer
    In a series of deft vignettes, the Dardennes offer up a microcosm of an entire working-class contingent, and each vignette is a universe all to itself.
    • 85 Metascore
    • 91 Peter Rainer
    The plot may be a bit too busy, but a great wash of transcendent imagery floods the screen. If I had to recommend the best children’s film out there for all ages, this one, and “The Tale of Princess Kaguya,” would easily top the charts.
    • 59 Metascore
    • 91 Peter Rainer
    Pacino still gets a blast out of acting. His performance in this film about a blocked performer is gloriously unblocked – a valentine to vanity.
    • 92 Metascore
    • 91 Peter Rainer
    Sissako, a Muslim, frames his story as a cry against religious intolerance. One of the characters, speaking of jihadism, says, “Where is piety? Where is God in all this?” It is the central question of this movie – and of much more now than this movie.
    • 83 Metascore
    • 91 Peter Rainer
    Most of the photographs on view in The Salt of the Earth bear witness to great suffering, and what they exalt is not the photographer’s eye but the fearful humanity that binds us all.
    • 65 Metascore
    • 91 Peter Rainer
    His (Hamer) new film, 1001 Grams, is almost as good as “Kitchen Stories,” with a story equally unpromising – but only in theory.
    • 80 Metascore
    • 91 Peter Rainer
    The ongoing tragedy in Africa is too nefarious, too complicated, for any one film to do it justice, but We Come as Friends opens a wide window into this mansion of horrors.
    • 72 Metascore
    • 91 Peter Rainer
    The accounting of his life story, as it unfolds in the film, is grounded in the brutal realities of corporate skulduggery. I’m a big fan of Balzac’s maxim that “behind every great fortune is a great crime,” and if nothing in Jobs’s history qualifies as a great crime, there is certainly a long trail of extreme misdeeds.
    • 84 Metascore
    • 91 Peter Rainer
    Anderson works in animation and home movies (Lolabelle “playing” the piano is a wonder), and Anderson’s voice-over narration is closer in quality to song than to spoken word. It’s a confounding, transfixing mélange.
    • 69 Metascore
    • 91 Peter Rainer
    The remarkable thing about Smith in The Lady in the Van is that, even though the role is no longer fresh for her, the performance certainly is. She gives it everything she’s got because, you feel, she wants to honor this character. She wants Miss Shepherd to live on.
    • 81 Metascore
    • 91 Peter Rainer
    If the sequels to “The Force Awakens” are as good as this film, that will probably be because they follow the same formula: heavy on the human side, more comedy, less CGI, more fresh faces, and more delightful droids. And, yes, one must pay homage to the Force.
    • 87 Metascore
    • 91 Peter Rainer
    The wonder, the astonishment, is that these puppets are invested with a full range of human emotion.
    • 94 Metascore
    • 91 Peter Rainer
    If 45 Days is a tragedy, it’s a tragedy without a summation. Despite the ineffably moving speech Geoff delivers to the assemblage at the anniversary party, perhaps the finest piece of acting in Courtenay’s long career, it is not at all clear where these people are headed, or what shoals await.
    • 83 Metascore
    • 91 Peter Rainer
    Rams confirms what I have long maintained: Often the best films come from the unlikeliest places.

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