For 1,327 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 1.5 points lower than other critics. (0-100 point scale)

Rick Groen's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Free Willy
Lowest review score: 0 Showgirls
Score distribution:
1327 movie reviews
    • 91 Metascore
    • 75 Rick Groen
    Profound, and profoundly affecting.
    • 69 Metascore
    • 75 Rick Groen
    Surprisingly funny yarn about a drug-addled cop in the Big Easy.
    • 53 Metascore
    • 75 Rick Groen
    In the Mouth of Madness may leave your spine a little short on tingle (any amount of irony always dissipates the scares), but it compensates by neither insulting your grey matter nor sparing your funny bone. In a genre more brain-dead than not, that's an awfully attractive trade-off. [03 Feb 1995]
    • The Globe and Mail (Toronto)
    • 83 Metascore
    • 75 Rick Groen
    As for the implicit tragedy amidst the funny business, the swelling ranks of the unemployed, the movie has no solution but instead offers itself as implicit solace: Escape, ye wretches, into my clever humour and my nifty dialogue and my star's considerable charm.
    • 84 Metascore
    • 75 Rick Groen
    Looper ups the ante like a poker player on speed. What a potpourri of genres we have here – noir again, but sci-fi too, and action and horror and psycho-drama with existential trimmings, the latter designed to invite the thinking viewer into the fray.
    • 65 Metascore
    • 75 Rick Groen
    As the plot moves toward the climax, where each girl is forced to make a hard choice dictated by her unique "circumstance," that feeling of compression, of so many contradictory urges and needs vying for attention, grows almost overwhelming. Such is life among the young in present-day Tehran, up on the screen for all to see – all but those who most need to see it.
    • 67 Metascore
    • 75 Rick Groen
    The upside? Visually polished, credibly acted and competently directed courtesy of Ridley Scott, the film is always likable. The downside? Well, it's never anything more than likable.
    • 73 Metascore
    • 75 Rick Groen
    What a strange, moving, puzzling, funny, frustrating and ultimately absorbing film this is.
    • 82 Metascore
    • 75 Rick Groen
    A little gem of social realism that makes up in polish what it lacks in consistency.
    • 32 Metascore
    • 75 Rick Groen
    UHF
    The laughs just keep rolling as 'Weird Al' makes a movie. Overheard from a still-convulsing woman after a recent screening of Weird Al Yankovic's UHF: "I'm sorry, but that's funny." I'm sorry, but she's right. Yuks you feel obliged to apologize for are yuks nonetheless. And UHF prompts a lot of apologies.
    • The Globe and Mail (Toronto)
    • 85 Metascore
    • 75 Rick Groen
    Not everything here is that vivid or uncluttered. Sometimes, the film betrays the circumstances of its making, shot hastily on location in Iraq after the fall of Saddam just as the extended conflict was beginning.
    • 77 Metascore
    • 75 Rick Groen
    The utterly bizarre story made national news when it broke, has since provided much magazine fodder, and popped up only two years ago adapted into a dramatic feature. Now it receives the documentary treatment and, in the devilishly manipulative hands of director Bart Layton, what a treatment it is – the weirdness just gets weirder.
    • 68 Metascore
    • 75 Rick Groen
    The delight here is in the sheer workmanship. The performances, the direction, the plotting, they're just nicely engineered, usually with an eye to that most underrated of virtues -- refined simplicity.
    • 57 Metascore
    • 75 Rick Groen
    The symbolism is about as subtle as a fang to the neck. Really, Daybreakers is more fun than foreboding; it's fright-lite, yet that's par for the bloody course in these busy apocalyptic days.
    • 69 Metascore
    • 75 Rick Groen
    The result is a film where blisteringly naturalistic drama bumps up against sentimentally arch melodrama (that's the biggest collision in Crash). Haggis showed the same tendency in his script for "Million Dollar Baby," yet there it was better hidden under a simpler narrative. Here, the tendency has gotten magnified right along with his thematic ambitions.
    • 69 Metascore
    • 75 Rick Groen
    What we see is admirable, but what we feel is minimal.
    • 76 Metascore
    • 75 Rick Groen
    Because of its patently commercial instincts, this is basically a black knock-off of a popular genre. Yet, despite those instincts, and despite the sophomoric moralizing, the movie has zest. The edges are sharp; it holds our attention by holding on to the vestiges of its unique black perspective. In that sense, House Party doesn't so much sell out as buy in - there are worse faults. [11 May 1990]
    • The Globe and Mail (Toronto)
    • 69 Metascore
    • 75 Rick Groen
    Arthur constantly flirts with the trite and dallies with the excessive. But it goes steady with neither, and so makes for a very pleasant companion on a warm summer eve. [17 July 1981]
    • The Globe and Mail (Toronto)
    • 64 Metascore
    • 75 Rick Groen
    This is a blockbuster busting out of the block; this is a Hollywood staple served up on a European platter; this is summertime fare with a wintry verve.
    • 65 Metascore
    • 75 Rick Groen
    It's one of those imperfect pictures that manages to command and hold our attention straight from the opening frames.
    • 67 Metascore
    • 75 Rick Groen
    Just sit back, plug in, and enjoy the shocks - so adroitly administered, so sweetly sensational. [24 Feb 1995]
    • The Globe and Mail (Toronto)
    • 65 Metascore
    • 75 Rick Groen
    Despite Marber's sardonic wit and Nichols's intelligent direction, the film winds up in the ironic position of practising exactly what it preaches: Closer invites and even gains our intimacy, only to finish by driving us ever farther away.
    • 79 Metascore
    • 75 Rick Groen
    In God's ghetto, as in so many of the world's forsaken places, warring armies of infants brandish their weapons of self-destruction, while politicians bluster and inspectors sleep.
    • 83 Metascore
    • 75 Rick Groen
    So much cinematic majesty perched precariously atop so little common sense. But, hell, maybe Quentin's right; relax, enjoy -- a castle with a shaky foundation is still quite a sight.
    • 67 Metascore
    • 75 Rick Groen
    If the publicity release can be believed, he worked an entire year "undercover as a student to research teenage life". On the basis of what surfaces here - one stock phrase (the kids say "Go for it]" a lot) and a multitude of stock characters - Crowe might better have spent the time curled up with re-runs of Ozzie and Harriet. Give this intrepid researcher 12 months at General Motors and he might just discover the wheel.
    • 90 Metascore
    • 75 Rick Groen
    Greengrass's reluctance to unduly demonize the villains or overly sentimentalize the victims is commendable on the surface, but it tends to blur the two sides and to mask the gulf that separates them.
    • 66 Metascore
    • 75 Rick Groen
    What a fine, tender, delicate, funny, gender-bending-and-rebending performance this is.
    • 73 Metascore
    • 75 Rick Groen
    The picture's charm lies in the continuing by-play between the filmmakers and their subject, with each side doing its best to deconstruct the other.
    • 72 Metascore
    • 75 Rick Groen
    Men may be gay by nature, but women are lesbians by choice -- for them, it's a simple matter of trading up. Such is the implied message of Kissing Jessica Stein.
    • 52 Metascore
    • 75 Rick Groen
    A flashy nineties flick with a campy fifties feel -- it's playful, naive, clever, silly, often inventive, occasionally uneven and, compared to studio offerings to date, the best present under this year's cinematic tree.

Top Trailers