For 2,026 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 Pan's Labyrinth
Lowest review score: 0 I Now Pronounce You Chuck & Larry
Score distribution:
2,026 movie reviews
    • 100 Metascore
    • 100 Peter Rainer
    It’s the ultimate time-travel movie into the future, a “flowing time sculpture,” in Linklater’s own words.
    • 99 Metascore
    • 100 Peter Rainer
    Despite its length, it is one of the most consistently engrossing and powerful movies ever made.
    • 98 Metascore
    • 100 Peter Rainer
    In tone, Pan's Labyrinth resembles a cross between "Alice in Wonderland" and H.P. Lovecraft, with some Buñuel thrown in for good measure. It is a tribute to - as well as a prime example of - the disturbing power of imagination.
    • 98 Metascore
    • 100 Peter Rainer
    You've seen the rest; now see the best.
    • 97 Metascore
    • 100 Peter Rainer
    The New Wave of Romanian cinema is the most exciting in the world right now. 4 Months, 3 Weeks, and 2 Days is its latest masterpiece.
    • 96 Metascore
    • 83 Peter Rainer
    As was also true of Pixar's last movie, "Cars," Ratatouille is better at pleasing the eye than the other senses.
    • 96 Metascore
    • 83 Peter Rainer
    I almost wish Cuarón had cast nonactors, or unknown actors, in the lead roles. It’s jarring having movie stars work up their Hollywood histrionics against such a glorious backdrop. None of these arguments should dissuade you from seeing Gravity, if only because what’s good about it is so much better than what’s bad. Visually, if not imaginatively, it sends you soaring.
    • 95 Metascore
    • 83 Peter Rainer
    The problem is, the geek in question, at least as Jesse Eisenberg plays him, doesn't have the emotional expansiveness to fill out a movie. Perhaps sensing this, the filmmakers play out the story line from multiple points of view and crowd the stage with a pageant of voluble supporting characters.
    • 95 Metascore
    • 100 Peter Rainer
    A Separation is not the work of a constrained artist. It's a great movie in which the full range of human interaction seems to play itself out before our eyes.
    • 94 Metascore
    • 100 Peter Rainer
    Before Midnight is the fullest and richest and saddest of the three movies in the trilogy. Make it a quartet, I say.
    • 94 Metascore
    • 100 Peter Rainer
    The most deeply and mysteriously satisfying animated feature to come along in ages.
    • 94 Metascore
    • 100 Peter Rainer
    A lyrical, yet intensely rooted, tragic vision.
    • 94 Metascore
    • 91 Peter Rainer
    Renner gives a full-bore performance of great individuality and industriousness, but essentially his character is as glamorized as any classic Westerner.
    • 94 Metascore
    • 91 Peter Rainer
    The story line for WALL-E is probably too convoluted for small kids, and sometimes it suffers from techie overload, but it's more heartfelt than anything on the screens these days featuring humans.
    • 94 Metascore
    • 90 Peter Rainer
    What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
    • 94 Metascore
    • 100 Peter Rainer
    Sweetest, funniest, most humane movie I've seen all year.
    • 94 Metascore
    • 100 Peter Rainer
    Jackson is rare among the makers of epic movies in that he knows how to do the small stuff, too. The Return of the King has “heart”--how else could it pump out all that blood?
    • 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.
    • 92 Metascore
    • 91 Peter Rainer
    In a film that overwhelmingly avoids happy-faced pronouncements, this one sticks out.
    • 92 Metascore
    • 100 Peter Rainer
    Wherever you were schooled, in public schools or private, in the slums or in the suburbs, you will recognize yourself in this film and laugh and beam and cower.
    • 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.
    • 92 Metascore
    • 100 Peter Rainer
    Toy Story 3, has more emotional power than either of its predecessors. Come to think of it, it also has more emotional power than most of the live-action movies out there.
    • 91 Metascore
    • 83 Peter Rainer
    This is a movie of high innocence, set at a time in life when romantic love is still a frolic and the seaside is a balm that quells all ills.
    • 91 Metascore
    • 100 Peter Rainer
    The most joyously cinematic movie I've seen this year. Chomet's astonishing imagination conjures images you could swear you've seen in your dreams.
    • 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."
    • 91 Metascore
    • 100 Peter Rainer
    Helen Mirren gives the mostly subtly expressive performance based on a living historical figure that I've ever seen.
    • 91 Metascore
    • 83 Peter Rainer
    The Canadian actress and director Sarah Polley set out to make a straightforward documentary about her mother, Diane, who died when she was 11, but by the time Stories We Tell was finished five years later, it had become unclassifiable.
    • 91 Metascore
    • 100 Peter Rainer
    Waltz With Bashir is a supremely courageous act, not only as a piece of filmmaking, but much more so as a moral testament.
    • 91 Metascore
    • 100 Peter Rainer
    The movie is true to its own fierce vision and it's the better for it. I haven't seen a stronger or better American movie all year.
    • 91 Metascore
    • 91 Peter Rainer
    The pessimism pervading this film is summed up by Shalom, who says, speaking of the decades of occupation: "The future is very dark."