For 2,123 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 6.1 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 In the Loop
Lowest review score: 0 Gulliver's Travels
Score distribution:
2,123 movie reviews
    • 60 Metascore
    • 60 Peter Rainer
    It's an opulent, if instantly disposable, kinetic joyride.
    • 71 Metascore
    • 60 Peter Rainer
    It's a marvelous, resonant joke that never quite succeeds: Stretches of the film resemble a Dario Argento horrorfest crossed with a Mel Brooks spoof. But the director, E. Elias Merhige, and his screenwriter, Steven Katz, occasionally bring some rapture to the creepiness, and Dafoe's vampire, with his graceful, ritualistic death lunges, is a sinewy, skull-and-crossbones horror who seems to come less out of the German Expressionist tradition than from Kabuki.
    • 71 Metascore
    • 60 Peter Rainer
    Has an appealing rawness.
    • 49 Metascore
    • 60 Peter Rainer
    The entire remake has been dumb-dumbed by John Hughes, who wrote the script and produced.
    • 48 Metascore
    • 60 Peter Rainer
    Franklin directs smoothly, but except for Freeman, the theatrics are pretty pro forma.
    • 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.
    • 65 Metascore
    • 60 Peter Rainer
    Suggests a cross between "Sunset Boulevard" and "All About Eve." The suggestion, alas, doesn't go very far, but Bening's performance approaches the pantheon.
    • 75 Metascore
    • 60 Peter Rainer
    Anderson is something of a prodigy himself, and he's riddled with talent, but he hasn't figured out how to be askew and heartfelt at the same time. When he does, he'll probably make the movie The Royal Tenenbaums was meant to be, and it'll be a sight to see.
    • 56 Metascore
    • 60 Peter Rainer
    Except for a few brilliant flashes, mostly from Peter O'Toole as Hector’s father, the Trojans' magisterially woebegone King Priam, Troy is a fairly routine action picture with an advanced case of grandeuritis.
    • 59 Metascore
    • 60 Peter Rainer
    LaBute is attacking our society’s obsession with the surface of things, whether it be a painter’s canvas or a human one, but his drama is, in itself, relentlessly superficial.
    • 74 Metascore
    • 60 Peter Rainer
    I wanted to be transported by this movie; I wasn't quite. But I respect it.
    • 76 Metascore
    • 60 Peter Rainer
    Fortunately, there are more than enough moments when the heavy-handedness gives way to the sheer bliss of ordinary magic.
    • 81 Metascore
    • 60 Peter Rainer
    Watching it is like getting a peek behind the curtain. But it's frustrating, too, because the casting of Emadeddin as a murderer-in-the-making precludes any psychological depth. And as an indictment of social inequality, which is the film's calling card, Panahi inadvertantly makes a far better case for the haves than for the have-nots.
    • 62 Metascore
    • 60 Peter Rainer
    He doesn’t entirely succeed, but the attempt has poignancy: As uneven as much of his recent work has been, Bertolucci's still in love with the movies, and his ardor--if not always the ends he puts it to--is exhilarating.
    • 52 Metascore
    • 60 Peter Rainer
    The problem is that Allen is getting a bit long in the tooth to be playing a romancer-rescuer, and since he and Helen Hunt have a rather frigid actorly rapport, we have plenty of time to notice the awkward, and barely acknowledged, disparity in their ages.
    • 46 Metascore
    • 60 Peter Rainer
    At one point, Val bemoans how stupid the country is, how dumbed-down everything has become. Allen's new movie is far from dumb, but it has an air of abdication about it.
    • 62 Metascore
    • 60 Peter Rainer
    What makes Nolte so much stronger than the other performers is precisely this sense of mysteriousness and indirection, which doesn't really correspond to the Adam Verver of the novel but certainly jibes with James's overall method.
    • 71 Metascore
    • 60 Peter Rainer
    Lee has phenomenal presence, and his movements are so balletically powerful that his rampages seem like waking nightmares. Lee keeps you watching The Crow when you'd rather look away.
    • 71 Metascore
    • 60 Peter Rainer
    I'm not sure I have it in me to rant yet again about what a deprivation it is for our finest actor to deny us his genius in this way.
    • 73 Metascore
    • 60 Peter Rainer
    Despite all the computer-generated effects and highflying superhero theatrics, this roughly $120 million movie is, with few exceptions, remarkable only in its small human touches.
    • 65 Metascore
    • 60 Peter Rainer
    Fitfully effective as a battle movie, and Mel Gibson does his rugged best to take center stage without seeming to. But the movie is self-righteous in a way that's frequently unseemly.
    • 72 Metascore
    • 60 Peter Rainer
    There is in The Mother a rich understanding of where old age takes you. Along with the myth that seniors don't have sex drives, the film dispels a larger one: that the years bring wisdom.
    • 62 Metascore
    • 60 Peter Rainer
    Were it not for these performances (Blanchett, Ribisi, Swank, Reeves), The Gift would be fairly negligible.
    • 66 Metascore
    • 60 Peter Rainer
    I don’t mind the movie’s retro-ness, but I wish Mostow didn't take pulp so seriously.
    • 82 Metascore
    • 60 Peter Rainer
    I realize that Fosse's dark sizzle might seem a bit dated today, but surely something halfway snazzy could have been devised for this movie. It's toothless.
    • 85 Metascore
    • 60 Peter Rainer
    It’s the difference between artistry and knowingness. About Schmidt doesn’t bring us deeply into the lives of its people because it’s too busy trying to feel superior to them.
    • 76 Metascore
    • 60 Peter Rainer
    Demme’s Manchurian Candidate is far from a disgrace, but it's not freewheeling enough, not strange enough to make sense of our gathering dread.
    • 68 Metascore
    • 60 Peter Rainer
    A great deal of energy is expended on metaphysical ruminations that become ever fuzzier. The film is intended as an allegory, but it works best as a jailbreak romance. In this movie, lowbrow trumps highbrow every time.
    • 82 Metascore
    • 60 Peter Rainer
    Devos is especially fine as a woman whose inner solitude carries depth charges.
    • 86 Metascore
    • 60 Peter Rainer
    Talk to Her affects some people very deeply, while others, like me, find it high-grade kitsch.

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