For 2,025 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 The Lord of the Rings: The Return of the King
Lowest review score: 0 She Hate Me
Score distribution:
2,025 movie reviews
    • 89 Metascore
    • 25 Peter Rainer
    The effect is intended to be ghastly – which it certainly is – but I was equally repelled by this film’s conceit. Oppenheimer allows murderous thugs free rein to preen their atrocities, and then fobs it all off as some kind of exalted art thing. This is more than an aesthetic crime; it’s a moral crime.
    • 70 Metascore
    • 30 Peter Rainer
    It’s forceful, to be sure, but in a lurid way that suggests a telenovela that’s been baking in the sun too long.
    • 67 Metascore
    • 16 Peter Rainer
    It just may be the most boring movie ever made – period.
    • 66 Metascore
    • 33 Peter Rainer
    Critics who come out against Kick-Ass are leaving themselves open to that worst of contemporary accusations: a failure to be cool. But pretending that Kick-Ass is just another good-time comic book blowout is the greater failure.
    • 64 Metascore
    • 30 Peter Rainer
    Elf
    I was looking forward to something a tad more satirical than this Hallmark card of a movie, which plugs innocence and goodness like they’re going out of style.
    • 61 Metascore
    • 33 Peter Rainer
    Its wasted cast includes Dyan Cannon, Sally Kellerman, Len Cariou, and Brenda Vaccaro, who miraculously manages to give a fine performance in this malarkey.
    • 60 Metascore
    • 30 Peter Rainer
    Since this is a coming-of-age movie about a poor rural kid who grapples with the big city, it would be nice if its protagonist weren’t such a lummox.
    • 57 Metascore
    • 33 Peter Rainer
    The coarseness wouldn't be so bad if at least the steady stream of obscenities were funny.
    • 57 Metascore
    • 30 Peter Rainer
    An exuberantly garish French movie.
    • 56 Metascore
    • 25 Peter Rainer
    Why are Steve Carell and Tina Fey wasting their time, and ours, by appearing in the miserable comedy Date Night?
    • 56 Metascore
    • 33 Peter Rainer
    The end result, at best, is high-toned pulp.
    • 56 Metascore
    • 20 Peter Rainer
    A heavy dose of movie-colony narcissism posing as warts-and-all honesty.
    • 55 Metascore
    • 30 Peter Rainer
    There's less here than meets the eye or ear: We're a long way from Jonathan Swift, and any old episode of "Cops" is bound to be more engrossing, not to mention "real."
    • 55 Metascore
    • 30 Peter Rainer
    Ends with a bunch of goofy outtakes--which are as dismal as the rest of the movie. How do you decide what to leave out when there's nothing worth keeping in?
    • 55 Metascore
    • 25 Peter Rainer
    Some movies are so flagrantly awful that they achieve classic status. To this rarefied company we must now add The Astronaut Farmer.
    • 55 Metascore
    • 16 Peter Rainer
    Caine acts dignified throughout, but there's no way to dignify dreck.
    • 55 Metascore
    • 20 Peter Rainer
    Most movies take a while to slip you into a stupor. All the Pretty Horses makes you groggy right away. Set in 1949, it's a lackadaisical series of vignettes apparently culled from a much longer movie that never made it to the screen. Be thankful for that.
    • 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
    • 33 Peter Rainer
    The movie often seems glib in the face of tragedy. And when, near the end, Shepard tries to pour on the hearts and flowers by showing us just what made Simon crack up on camera, the bathos is icky. The whole movie is icky.
    • 54 Metascore
    • 30 Peter Rainer
    The only note of authenticity in the movie comes from Ian Holm, playing the royal physician. What is this nuanced performance -- at least until the final fireworks -- doing in this twaddle?
    • 54 Metascore
    • 10 Peter Rainer
    Has a terrific premise that shatters almost upon arrival; no bad-boy legend trashing a hotel room could have done a more complete job.
    • 53 Metascore
    • 25 Peter Rainer
    The story is too self-conscious about its offbeat qualities, becoming so cool that it practically freezes on the screen.
    • 53 Metascore
    • 30 Peter Rainer
    It's as if an obsessed movie nut had decided to collect every bad war-movie convention on one computer and program it to spit out a script.
    • 53 Metascore
    • 30 Peter Rainer
    O
    It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
    • 52 Metascore
    • 20 Peter Rainer
    The people who made this movie have either seen too much mayhem -- or they haven't seen any.
    • 52 Metascore
    • 25 Peter Rainer
    Maybe Jackson should avoid any more movies with "snake" in the title.
    • 51 Metascore
    • 30 Peter Rainer
    The film's Russians are all played by French and Australian actors. Too bad Butterworth didn't find a Russian to play the Brit. That would have made the inauthenticity complete.
    • 51 Metascore
    • 33 Peter Rainer
    Just because The Fountain is different doesn't mean it's good. In fact, it's borderline unwatchable, though this hasn't prevented the Oscar buzz from buzzing.
    • 50 Metascore
    • 30 Peter Rainer
    The role plays all too easily into De Niro's worst current habits. He's dulled himself out in the service of a phony kitchen-sink pseudo-realism. For De Niro, less has become less.
    • 50 Metascore
    • 10 Peter Rainer
    The animation is of variable quality; the story is a garbled pastiche of "Oliver Twist" and "Little Miss Marker;" the songs, including four by Charles ("Annie") Strouse, are eminently unhummable. [17 Nov 1989]
    • Los Angeles Times