For 2,108 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 6.2 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Seymour: An Introduction
Lowest review score: 0 Mixed Nuts
Score distribution:
2,108 movie reviews
    • 85 Metascore
    • 91 Peter Rainer
    As one of Booker's supporters notes, it's a sad day when academic success is used to denigrate an African-American.
    • 69 Metascore
    • 91 Peter Rainer
    Easily the best in the series since the first one.
    • 67 Metascore
    • 91 Peter Rainer
    Heartbreaking, exhilarating, baffling. In other words, it expresses the performer's persona in its purest form.
    • 89 Metascore
    • 91 Peter Rainer
    Clint Eastwood's Letters From Iwo Jima is his companion piece to "Flags of Our Fathers" and in almost every way is superior.
    • 75 Metascore
    • 91 Peter Rainer
    The film is laced with lovely moments, from the leads and from Shelly as a waitress friend.
    • 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.
    • 58 Metascore
    • 91 Peter Rainer
    Blossoms of Fire fulfills the first criterion of any good ethnographic study: It's about an inherently interesting subject.
    • 92 Metascore
    • 91 Peter Rainer
    Sprawling yet cramped, There Will Be Blood may not be the best movie of the year, but it's certainly the strangest. It evokes passing comparisons to everything from "Giant" to "Citizen Kane" but it's impossible to pigeonhole.
    • 88 Metascore
    • 91 Peter Rainer
    It's a marvelous performance in a marvelous movie, one that sneaks up on you while you're watching it.
    • 68 Metascore
    • 91 Peter Rainer
    Despite everything, many of us still think of animation as a kid's genre. $9.99, based on stories by Etgar Keret who also co-wrote the script with the director, is an attempt to use the animation medium to express an entirely adult sensibility.
    • 74 Metascore
    • 91 Peter Rainer
    If the literacy of The History Boys is deemed uncinematic, then give me uncinema anytime.
    • 91 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.
    • 84 Metascore
    • 91 Peter Rainer
    After seeing this film, try reading Norman Mailer's "Of A Fire on the Moon," its perfect companion piece.
    • 82 Metascore
    • 91 Peter Rainer
    The result is doubly satisfying: We get not only a trenchant political drama but a bang-up concert film as well.
    • 70 Metascore
    • 91 Peter Rainer
    The movie is an idyllic view of life as it ought to be, rather than the way it is.
    • 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.”
    • 76 Metascore
    • 91 Peter Rainer
    The Last Station isn’t all that it should be, but whenever these two actors are onscreen, it’s like a great night at the theater.
    • 82 Metascore
    • 91 Peter Rainer
    In the end, the power poetry workshops, as the teachers are first to admit, are not about creating Shakespeares. They are about survival.
    • 63 Metascore
    • 91 Peter Rainer
    Preteen girls – and not just those who are already American Girl fanatics – should be entranced. And why not? Not many movies for that audience are as respectful as is this one.
    • 75 Metascore
    • 90 Peter Rainer
    Sophisticated and nuanced, and every character is bursting with emotional contradictions.
    • 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.
    • 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.
    • 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.
    • 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.
    • 85 Metascore
    • 90 Peter Rainer
    Polanski’s strongest and most personally felt movie.
    • 71 Metascore
    • 90 Peter Rainer
    Linklater must have recognized a kindred spirit when he read Belber's play. He's given us a reality-fantasy game, a psychodrama, a harangue, and a detective story all rolled into one.
    • 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.
    • 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."
    • 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.
    • 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.

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