For 1,302 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 0.7 points higher than other critics. (0-100 point scale)

Rick Groen's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Kafka
Lowest review score: 0 Wild Hogs
Score distribution:
1,302 movie reviews
    • 58 Metascore
    • 88 Rick Groen
    Disclosure is a well-acted, slickly directed shell of a picture. The veneer is so polished that you look on with something approaching genuine satisfaction, and only after the final credits roll do you begin to feel the void.
    • The Globe and Mail (Toronto)
    • 67 Metascore
    • 88 Rick Groen
    A film that transforms a popular work of teen fiction not just by faithfully exploring its themes but, more important, by proving those themes have a very grown-up resonance.
    • 75 Metascore
    • 88 Rick Groen
    Like the stationary figures it portrays, Kicking And Screaming is alive at the edges; it comes with a vibrant border of trenchant asides, tossed-off remarks that blend the solace of protective irony with the sterner stuff of hard truth.
    • 83 Metascore
    • 88 Rick Groen
    Polished, intelligent, impeccably well-bred, it's an upscale kids' flick designed to appease the fears of discriminating parents: If those stubborn tykes refuse to crack a book, then this is the next best thing - Young People's Masterpiece Theatre. [11 Aug 1995, p.C2]
    • The Globe and Mail (Toronto)
    • 77 Metascore
    • 88 Rick Groen
    The Usual Suspects filled me with a highly unusual urge - to be a true "reviewer," to rewind the projector and figure out this humdinger once and for all.
    • 78 Metascore
    • 88 Rick Groen
    The surprise lies in Linklater's ability to breathe so much fresh life into a tired formula...This is a picture that recollects not merely a period in time but a state of mind.
    • 78 Metascore
    • 75 Rick Groen
    Only a master director could make such a beautifully flawed film.
    • 58 Metascore
    • 75 Rick Groen
    The narrative meanders on occasion, the conceit can seem repetitious, the editing is loose. Nevertheless, buoyed by the naturalism of its exclusively young cast, the picture effectively gets into your head and under your skin.
    • 73 Metascore
    • 75 Rick Groen
    Around about the third act, the picture does what no self-respecting virus ever would -- relents, turns confused, and lets our immune system fight back with thoughts of its own, with distracting cavils about the logic of the plot and the slightness of the themes.
    • 75 Metascore
    • 75 Rick Groen
    A laugh and a half, a genial crowd-pleaser.
    • 75 Metascore
    • 75 Rick Groen
    The love that blooms is essentially between the boys. They both have some considerable growing up to do, but theirs is a true romance and it's awfully sweet. Funny, too.
    • 66 Metascore
    • 75 Rick Groen
    Well, I didn't exactly leave the theatre barefoot, but there's a lot to like here -- the result is pretty darn cute and hardly ever cloying.
    • 60 Metascore
    • 75 Rick Groen
    The climax also comes with a nifty little kicker.
    • 53 Metascore
    • 75 Rick Groen
    The film commands our attention again as more connections emerge -- not enough to fully solve the mystery, but sufficient to convince us that Café de Flore amounts to more than the triumph of style over substance.
    • 78 Metascore
    • 75 Rick Groen
    The result is a good movie that falls short of greatness by aping too well the behaviour of its subject – occasionally brilliant, sometimes mundane.
    • 64 Metascore
    • 75 Rick Groen
    The film lacks flow, unfolding in a rat-a-tat series of short, artfully lensed scenes -- individually nice but collectively jerky.
    • 83 Metascore
    • 75 Rick Groen
    Love sometimes hurts, but love/hate is always pure anguish. That's the two-stroke engine powering I Killed My Mother ( J'ai tué ma mère), a coming-of-age tale as ferociously raw as its teller - the very young Xavier Dolan.
    • 56 Metascore
    • 75 Rick Groen
    Sylvia the movie competently shows us how; but, as always, it's Sylvia the writer who brilliantly tells us why -- then, now and tomorrow, her foreboding words are her finest legacy.
    • 54 Metascore
    • 75 Rick Groen
    A lovely oddity.
    • 86 Metascore
    • 75 Rick Groen
    Barbara is intriguing because the script subtly plays off that expectation, not denying it so much as expanding it, showing us that the grey world can contain, and even embrace, contradictory colours.
    • 79 Metascore
    • 75 Rick Groen
    More illuminating than not.
    • 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.
    • 70 Metascore
    • 75 Rick Groen
    Of course, entire books have been written, and perused by disappointed women, about the male reluctance to put away their fantasized Biancas. In that sense, Lars and the Real Girl is real indeed. In every other, it's a sweet, bordering on saccharine, bagatelle.
    • 69 Metascore
    • 75 Rick Groen
    En route, despite some clumsy exposition and the reduction of heavyweights like Mary McCarthy and William Shawn to fifth-business caricatures, the film does manage one impressive intellectual achievement of its own: rescuing that “banality of evil” phrase from the banal cliché it’s become and, by providing the full and daring context, giving it real meaning again.
    • 65 Metascore
    • 75 Rick Groen
    Yes, this is the fascinating stuff, a rare (in pop culture) look at the complex nature of the love-sex equation – when it's too direct, when it's too vague, when it breaks down completely.
    • 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.
    • 79 Metascore
    • 75 Rick Groen
    The picture makes too many concessions to the Hollywood judges, pulls too many punches. But at least it has real punches to pull, because there's honest sweat here too, and a full complement of those archetypes that lie at the popular heart of the genre.
    • 78 Metascore
    • 75 Rick Groen
    Violent and sexy and funny and sad, Head-On is a big collision that doubles as a bizarre love story.
    • 58 Metascore
    • 75 Rick Groen
    Delight, a modest yet palpable measure of the stuff, is restored.
    • 54 Metascore
    • 75 Rick Groen
    Dig just a shade beneath the surface, trade in the text for the subtext, and a more interesting picture emerges – a little richer, sadder, almost poignant. Arnie is back again, yet now, as a storied immigrant nearing the end of his tale, he's become an odd sight to behold.

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