For 1,291 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 1.4 points higher than other critics. (0-100 point scale)

Rick Groen's Scores

  • Movies
Average review score: 60
Highest review score: 100 The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Lowest review score: 0 Godzilla
Score distribution:
1,291 movie reviews
    • 82 Metascore
    • 75 Rick Groen
    The stylings of Martin Scorsese and Quentin Tarantino come to the Mideast, but more credibly grounded in a complex setting fraught with raw contemporary politics and ancient class tensions. It makes for a compelling movie but hardly a pretty picture.
    • 82 Metascore
    • 75 Rick Groen
    The result is a whodunit so nicely crafted that you're tempted to forgive the Byzantine plot -- hell, you're even tempted to pretend you actually understand its twisting obscurities.
    • 82 Metascore
    • 75 Rick Groen
    Happily, in his adaptation of the Terence Rattigan play, The Deep Blue Sea, Davies has found a setting close to his heart and a subject more nearly suited to his style.
    • 82 Metascore
    • 100 Rick Groen
    At best, Leaving Las Vegas is pure alchemy -- it makes of flawed humanity a hymn, and of forlorn hope a beacon.
    • 82 Metascore
    • 63 Rick Groen
    Constant is the very thing The Constant Gardener is not. Attractive yet fickle, the movie beckons enticingly one moment and wanders off the next.
    • 82 Metascore
    • 75 Rick Groen
    Mainly, though, the film's strength is reportorial, sensitively exploring a theme that has grown ever more prominent with the globalization of sport.
    • 82 Metascore
    • 75 Rick Groen
    This is a war film with an anti-epic feel, best when it forgoes the forced march of plot to hunker down in the trenches of our flawed humanity.
    • 82 Metascore
    • 100 Rick Groen
    The result is a genre picture that transcends the genre, that gleefully embraces four qualities alien to the bulk of its noisy brethren: (1) thematic texture; (2) kinetic grace; (3) visuals that toy with the mind even while dazzling the eye; and (3) performers who are permitted to act like something other than human wicks for the pyrotechnical bombast.
    • 82 Metascore
    • 88 Rick Groen
    If the kids give the movie its momentum, its fascination comes from a more static source -- the father.
    • 82 Metascore
    • 63 Rick Groen
    A picture with pop's delicious energy yet none of its attendant risk, a flick that no one will love but everyone will like.
    • 82 Metascore
    • 100 Rick Groen
    Hunger -- the disturbing, provocative, brilliant feature debut from British director Steve McQueen -- does for modern film what Caravaggio did to Renaissance painting.
    • 82 Metascore
    • 75 Rick Groen
    Ambitious and brooding, Coogan has the darker nature; lighthearted and affable, Brydon is all sunny-side up. Happily, both possess a devilishly quick wit and the need to go beyond self-impersonation to the more celebrated variety.
    • 82 Metascore
    • 63 Rick Groen
    From my doddering perspective - rheumy with a view - Volume 3 puts plenty of cinema into the picture but leeches all the charm out of the tale.
    • 82 Metascore
    • 63 Rick Groen
    Yet, for all that's wrong here, one thing is wonderfully, blissfully right, and his name is Tom Hanks.
    • 82 Metascore
    • 50 Rick Groen
    The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
    • 82 Metascore
    • 75 Rick Groen
    Let the Right One In is a children's film, but you wouldn't want your child to see it. It's a horror film, but the gruesome splatter is the least of its scares. And it's a love story, but the prepubescent kind where sex is a distant idea and loneliness a shared reality. A wicked trick, a cinematic treat, this is some Halloween offering.
    • 82 Metascore
    • 75 Rick Groen
    Smarting like hell, the artist and his art are at it again. Consequently, like most of Michael Haneke's films, The White Ribbon is profoundly disturbing, impeccably shot, superbly cast, allegorically ambitious and, yet, slightly disappointing – just enough to make you wonder if that salt-in-the-wounds theory is as dogmatic as the dogma he likes to condemn.
    • 82 Metascore
    • 63 Rick Groen
    Not an extraordinary portrait, but it does portray an extraordinary man.
    • 82 Metascore
    • 100 Rick Groen
    Intriguing, disturbing, uplifting evocation. In fact, to watch this film is to engage in participatory art -- for better and for worse, through sickness and in health, we're drawn deeply in.
    • 82 Metascore
    • 75 Rick Groen
    In recounting this conflicted tale, director Rachid Bouchareb displays some valour of his own, resisting what must have been a strong temptation to deal in aggrieved agitprop, and instead, quietly but powerfully, confining his attentions to a small group of indigenous soldiers.
    • 82 Metascore
    • 63 Rick Groen
    Offers you the ostensible bargain of two movies in one -- a character study at the outset and the crime caper that follows. The first picture is intriguing, the second stinks.
    • 82 Metascore
    • 63 Rick Groen
    Oh, it's The Return, all right. To any masochist who's been pining for all those clichéd tropes associated with Russian cinema -- ponderous pacing and arcane symbolism shot through a lens darkly -- this will seem a welcome blast from the past.
    • 82 Metascore
    • 63 Rick Groen
    Up and down, Late Marriage is definitely rocky, but there's never a point where we lose interest and want out -- as relationships go, that's not bad.
    • 82 Metascore
    • 75 Rick Groen
    A little gem of social realism that makes up in polish what it lacks in consistency.
    • 82 Metascore
    • 50 Rick Groen
    But the stuff looks like what it is -- trite imagery grafted over the narrative barrens, like a bad weave on a balding pate.
    • 82 Metascore
    • 75 Rick Groen
    What it doesn't have is the resonance of Cronenberg's "A History of Violence," a film that exploited the same genre even while transcending its limitations. Eastern Promises delivers, but not on that scale.
    • 81 Metascore
    • 88 Rick Groen
    The reality measures up to the rep.
    • 81 Metascore
    • 88 Rick Groen
    From its quiet opening sequence to its silent final shot, everything about A History of Violence is deceptive, and deceptively simple.
    • 81 Metascore
    • 50 Rick Groen
    Like a skill player who just can't score, The Damned United is all dazzle and no finish and, ultimately, damned frustrating.
    • 81 Metascore
    • 100 Rick Groen
    The wonder is that the film balances its many genres, from the thorns of murder to the bloom of romance to the thickets of politics, with such easy grace.