For 37 reviews, this critic has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 5.7 points lower than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
Average review score: 53
Highest review score: 90 Two Girls and a Guy
Lowest review score: 10 Seven Years in Tibet
Score distribution:
  1. Positive: 11 out of 37
  2. Negative: 5 out of 37
37 movie reviews
    • 83 Metascore
    • 90 Peter Rainer
    The documentary is, in essence, not much more than a record of what happened in Zaire, but it has been assembled with a real feeling for the historical moment. It's literally a blast from the past.
    • 82 Metascore
    • 70 Peter Rainer
    Face/Off wouldn't work without two great actors, and it doesn't always work with them. But their gifts justify the whole loony enterprise.
    • 76 Metascore
    • 70 Peter Rainer
    A true killing comedy would require a great deal more sophistication than first-time writer-director Peter Duncan brings to the party. He hasn't made a black comedy, really; it's more like a black spoof.
    • 75 Metascore
    • 70 Peter Rainer
    It can't compare to what might have been: a full-scale performance by Daniel Day-Lewis as an Irish raging bull--a rebel with a cause. There are still traces of greatness in what he attempts, and it's more than enough to make the movie worth a lingering look.
    • 74 Metascore
    • 60 Peter Rainer
    I wanted to be transported by this movie; I wasn't quite. But I respect it.
    • 70 Metascore
    • 50 Peter Rainer
    In Your Friends and Neighbors, LeBute is having a high old time giving himself the creeps. For the rest of us it's all kind of...well...nasty.
    • 68 Metascore
    • 80 Peter Rainer
    Inspirationalism wafts off the screen in little perfumed puffs.
    • 66 Metascore
    • 90 Peter Rainer
    The work of an obsessive who has developed a light touch--though some of his more outright themes and pronouncements can be heavy-going.
    • 64 Metascore
    • 40 Peter Rainer
    Mangold never ventures beyond the obvious. We're set up with righteous anger against the liberal establishment and then fobbed off with goombah melodramatics. The film should be called Cop Out.
    • 63 Metascore
    • 70 Peter Rainer
    In a confused world, this is a movie with answers.
    • 62 Metascore
    • 50 Peter Rainer
    Contact sure is pretentious. It doesn't deliver on the deepthink, and it lacks the charge of good, honest pulp. It's schlock without the schlock.
    • 62 Metascore
    • 60 Peter Rainer
    What's weird about subUrbia is that Linklater's zoned-out technique is wedded to Bogosian's in-your-face power-rant oratory. The result is like local anesthesia--you can see the incisions, but you can't feel them.
    • 62 Metascore
    • 50 Peter Rainer
    Instead of the cat-and-mouse cogitations and psych-outs one might rightly expect from this high concept, we're fobbed off with a lot of sub-Die Hard theatrics and stinko plotting.
    • 62 Metascore
    • 40 Peter Rainer
    G.I. Jane is liberated, all right--from good acting and a good story.
    • 61 Metascore
    • 50 Peter Rainer
    In The Game, Fincher pulls back from the total gross-out but sustains a tone of aggravated anxiety. Hitchcock could have done this material and still made its perversities pleasurable.
    • 59 Metascore
    • 70 Peter Rainer
    The Lost World is a smoother, scarier ride than its predecessor, with twice as many dinosaurs twice as well designed eating twice as many people...But he's not particularly playful with his terrors here, and that's a disappointment coming from a filmmaker who can mix scares and laughs the way no one else ever has.
    • 57 Metascore
    • 60 Peter Rainer
    Some directors can profit from the strictures of a strong narrative, but, for Linklater, the conventionality of The Newton Boys works against the glide of his free-floating style.
    • 57 Metascore
    • 40 Peter Rainer
    [The movie's subject] sounds like great movie material, but the film, except in flashes, doesn't do it justice.
    • 55 Metascore
    • 50 Peter Rainer
    Cuaron is a special talent, and, as botched as Great Expectations often is, it's the kind of failure that deserves an audience--if only to experience Cuaron's way of seeing, which is at its best in the early parts of this film.
    • 55 Metascore
    • 70 Peter Rainer
    Watching this film is a little bit like getting mauled and tickled at the same time. The filmmakers have given the whole shebang a hefty levity, and that's not easy to accomplish in a full-scale disaster movie.
    • 55 Metascore
    • 10 Peter Rainer
    Seven Years in Tibet feels more like Seven Days in the Movie Theater. It refuses to come alive--not even when Brad Pitt, hirsute as a yak, wanders the frozen Himalayas with an Austrian accent that probably gave his dialogue coach hives.
    • 54 Metascore
    • 60 Peter Rainer
    In U-Turn Stone is reaching for the pulp without the politics. He's trying for noir as ritual dance. But Stone is too frenzied a filmmaker to keep the dance steps simple.
    • 53 Metascore
    • 60 Peter Rainer
    Even though The Devil's Own reportedly cost close to $100 million, it comes across as a sleek, medium-grade character study occasionally punctuated by gunfire. If this is what $100 million buys these days, can $200-million movies be very far off?
    • 52 Metascore
    • 40 Peter Rainer
    Bean represents a dismal dumbing-down of a very bright creation. Is nothing sacred?
    • 52 Metascore
    • 80 Peter Rainer
    The entire film takes its cue from Cage's spritzes and jags; it's a delirious performance in a delirious landscape.
    • 51 Metascore
    • 40 Peter Rainer
    What makes the claptrap in Starship Troopers so flabbergasting is that it's monumentally scaled.
    • 50 Metascore
    • 80 Peter Rainer
    The Saint exists almost entirely as a vehicle for Kilmer's quick-change smarty-pants swagger, and it's inconceivable without him. He's great fun to watch--a squirish master thief with a wide streak of lewdness.
    • 49 Metascore
    • 60 Peter Rainer
    The entire remake has been dumb-dumbed by John Hughes, who wrote the script and produced.
    • 46 Metascore
    • 40 Peter Rainer
    It's a kiddie comedy that really shouldn't be on the big screen at all; it has all the creative range of an Afterschool Special.
    • 46 Metascore
    • 50 Peter Rainer
    And so the chief complaint one can lodge against Lyne's film is central: It's not that funny. Which is another way of saying that, for all its controversy, it's not that daring.
    • 45 Metascore
    • 30 Peter Rainer
    As an actress, Madonna has to work on her vulnerability more.
    • 43 Metascore
    • 40 Peter Rainer
    It's been said that a thriller is only as good as its chief villain, and, in the same way, most noirs are only as good as their suckers. Palmetto has a good sucker but not much else.
    • 43 Metascore
    • 30 Peter Rainer
    It's big and loud, but this Peacemaker is still a dud.
    • 36 Metascore
    • 50 Peter Rainer
    The Jackal isn't much--it certainly isn't up to the 1973 Fred Zinnemann Day of the Jackal it loosely adapts and updates--but it does offer the fascination of watching big-ticket actors attempt to spin their images.
    • 35 Metascore
    • 30 Peter Rainer
    What's missing is romance. Despite the engaging friskiness of its two stars, the film is romantically vapid. Watching it is like trying to warm up to a hologram.
    • 34 Metascore
    • 40 Peter Rainer
    Excess Baggage, Alicia Silverstone's first feature from her First Kiss Productions, turns out to be a rather shaggy and uninvolving jaunt.
    • 28 Metascore
    • 20 Peter Rainer
    The fourth installment in the Batman franchise is one long head-splitting exercise in clueless cacophony that makes you feel as though you're being held hostage in some haywire Planet Hollywood while sonic booms pummel your auditory canal.