Premiere's Scores

  • Movies
For 1,070 reviews, this publication has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Control
Lowest review score: 0 Pretty Persuasion
Score distribution:
1,070 movie reviews
  1. Not even within earshot of a masterpiece, Man on Fire, based on its ratio of production costs to quality alone, may prove to be the worst movie of 2004.
    • 33 Metascore
    • 25 Critic Score
    Despite a lavish budget and one of the most expensive movie sets in the world--the island of Manhattan—they (Mary-Kate and Ashley Olsen) can’t buy love, talent, or a decent script.
  2. Berry is giving a performance much too earnest to have been intentionally campy, setting herself up as a veritable shoo-in for this year's "Worst Actress" Razzie. Me-ouch!
  3. It’s terrible enough to torture the damned.
  4. Kranks is the type of grim holiday movie that reminds you of all that is noxious and insincere about the Christmas season and then chases it down with a sickly-sweet reversal
  5. Apparently, none of the characters in Darkness have seen "The Shining."
  6. A clumsy, dreadfully preposterous and pedestrian thriller that seems to believe loud noises are the same as good frights.
  7. Lacks thrills, narrative, emotion, believability, character development--and frankly--watchability.
  8. As bad movies go, The Jacket belongs to a relatively rare but extremely intriguing/irritating genus.
  9. Diesel valiantly but unsuccessfully tries to raise this inane bit of Mr. Mommery above its afternoon-special standing.
  10. For a horror movie to work, it has to be ABOUT something.
  11. A sadistically bland entertainment that oversells its reveals and lets its suspense drip so long that it would be nice if something (anything!) happened.
  12. From less a purist's standpoint than a seeker of serviceable junk food, this comprehensive waste of time is too bouncy to be an "Elektra" bummer, but should make Marvel mascot Stan Lee think twice about burning another lucrative bridge with unintentional hilarity.
    • 46 Metascore
    • 25 Critic Score
    It's somehow fitting that this purported romantic comedy about dating is, like most dates, clumsy, endless, and absolutely excruciating.
  13. Not to chastise the movie for simply being rude or crude -- since "The Wedding Crashers" proved that hormone-raging '80s throwbacks can still be harmless fun -- but this contemptible sex-com redux should be taken to task for how its infantilized yucks give license to entertaining closed-minded acceptances of very real human ugliness.
    • 30 Metascore
    • 25 Critic Score
    I suspect that there’s an audience for this film. I’ve heard that they like "mindless" entertainment.
    • 25 Metascore
    • 25 Critic Score
    A clichéd and flat out boring film that doesn’t even approach the mediocrity of director Jim Gillespie’s 1997 pic in the same genre, "I Know What You Did Last Summer."
    • 40 Metascore
    • 25 Critic Score
    Finally, a horror movie for the reality TV generation. Saw II feels like an episode of "Fear Factor" or "Big Brother" with Rob Zombie at the helm, and if that doesn’t scare you away from this ridiculous movie, well, feel free to indulge your questionable tastes.
  14. Swedish director Mikael Håfström's Derailed makes "Fatal Attraction" look positively subtle, while mustering none of the nuance or moral complexity (not to mention the sexual chemistry) of "Unfaithful."
  15. Yet another ill-conceived big screen videogame adaptation.
  16. Weinstein Co. honchos Bob and Harvey are chasing some of the old "Pulp Fiction" magic--and failing not only miserably, but kind of disgustingly.
    • 45 Metascore
    • 25 Critic Score
    Click is yet another uninspired Adam Sandler goof-fest with a long suffering leading lady, mildly bawdy gags--see Joe Schomo oogle female jogger--and a predictable ending.
    • 37 Metascore
    • 25 Critic Score
    To be fair Deep does have one thing going for it. While the movie never seems to end, and when it does… oh man. Think "Aquaman" meets "Training Day." It proves that sometimes a crappy drama is sometimes just a comedy in disguise.
    • 42 Metascore
    • 25 Critic Score
    One of the film's few virtues is Danny Glover as the voice of Miles the mule.
  17. The film is laughable when it tries to be dramatic and stone-faced when it strains to be funny. Beyond that, Man of the Year is often so wildly off the mark in its depiction of how elections are run, it's hard to believe that it was directed by the same guy who helmed "Wag the Dog," one of the savviest political films ever made.
  18. The film is ultimately so repetitive, un-enlightening and lacking in substance, even Drew Carey seems bored by the end when he asks, "When are you guys going to make the 'c*nt' documentary?"
    • 26 Metascore
    • 25 Critic Score
    The film drags by, charmlessly, endlessly. Shrieking.
  19. The pumped up sound effects play like an overplayed laugh track on a sitcom that just isn't funny and only draws more attention how ineffective the filmmaking is.
  20. One of those celebrations of idiocy that never seem to go out of vogue.
  21. And so it goes, leaving an awful taste and the inevitable question: Jane Fonda made a comeback to do dreck like this and "Monster-in-Law?"
  22. Movies in which the same person serves as writer, director, and star should carry a special warning for audiences, even if that individual happens to be an actor as endearing as Luke Wilson.
  23. Fails in what amounts to its only distinct purpose: to smugly push the envelope of depravity farther than anyone else.
  24. Thoroughly irritating little film.
  25. So go on, pay your ten bucks and get your hate on.
  26. Director Julie Taymor's gargantuan all-Beatles-songs musical is that rarest of animals, the perfect disaster that fulfills expectations by defying them.
  27. This one's been sitting on shelves for two years -- never good news -- and you can almost see the dollar signs in the cast's eyes.
  28. Its climactic highway shootout, and much else in the picture, is rendered in the best Paul Greengrass manner that Hollywood money can buy. But where Greengrass pictures aim to keep one on the edge of one's seat throughout, the tension here, such as it is, is designed to stoke audience bloodlust. If that's your kind of thing, The Kingdom certainly satisfies.
    • 46 Metascore
    • 25 Critic Score
    One of those infuriating films that can't allow this already dramatic situation to fester and develop on its own.
  29. Filmed in 2005, the first of two Cusack widower flicks this season (the weepier and more indie "Grace is Gone" hits theaters in December) Martian Child is also a Franken-schmaltz monster of cobbled-together Cusack movie parts.
    • 48 Metascore
    • 25 Critic Score
    For a movie built around a brightly-colored, magical toy store, Mr. Magorium's Wonder Emporium is surprisingly forgettable. In fact, it's most wondrous feat is just how it manages to waste good actors and fine performances.
  30. This terminally ill, terminally awful dramedy marks a sad cinematic milestone: The Bucket List is the first film in history to feature a truly wretched Nicholson performance -- and we're not talking about the character he plays.
    • 49 Metascore
    • 25 Critic Score
    Takes a long time to say nothing new, which is a shame because it wastes fine performances across the board (it's a nice reminder that Farrell, can, in fact, act), and, well, a really effective score by Philip Glass.
    • 24 Metascore
    • 25 Critic Score
    With his preferences for static, colorless visuals and exposition-laden dialogue over conversation, director Valette has now set the bar for the worst film of 2008.
    • 34 Metascore
    • 25 Critic Score
    A disaster, representing a number of negative firsts for Shyamalan.
    • 31 Metascore
    • 25 Critic Score
    The leaden performances (Erik Scott Smith is the worst offender), the unlistenable musical interludes, the amateurish caricatures, and the short stories' lack of overall cohesion make this a garden party you should take a rain check on.
    • 45 Metascore
    • 25 Critic Score
    It's tough to get through because it's so slow; the beautiful Kristen Bell, who we love in almost everything, doesn't fit in with a bunch of nerds.
    • 33 Metascore
    • 25 Critic Score
    When the hits finally do come, they are really only capable of scaring 13-year-olds making their first trip into the horror genre.
    • 34 Metascore
    • 25 Critic Score
    We don't needlessly hate on the romantic comedies, but this one takes the corniness and predictability of the genre to a whole new level.
    • 42 Metascore
    • 25 Critic Score
    Feels like a re-hash.
    • 32 Metascore
    • 25 Critic Score
    There is also a sense that the filmmakers weren't quite certain if they wanted to make a fun, kid-friendly adventure or a bawdy adult-skewed comedy. Walking the tightrope doesn't work.
    • 39 Metascore
    • 25 Critic Score
    If you are a fan of brainless comedy that willed with bits that seque magically into some semblance of a plot…then The Goods is for you.
  31. A charmless, vandalized version of a classic.
    • 47 Metascore
    • 25 Critic Score
    Chris Columbus, true to his namesake, has chartered new waters of lazy hackdom with this "Clash of the Titans" remade as a CW tween soap.
    • 31 Metascore
    • 25 Critic Score
    When your movie is nothing more than a cheap and uninteresting homage, best not to call attention to that fact with a ten minute opening scene to that effect.
  32. Jonah Hex tries to hedge its bets too much, and the result is a movie that probably won't please the few faithful with Jonah Hex bedsheets, nor fans of mindless summer action flicks.
    • 43 Metascore
    • 25 Critic Score
    What doesn't work at all -- saving the worst for last -- is a ship-sinking performance by John Leguizamo as Lorenzo.
  33. As for me, watching this overripe, ignorant parading of Hollywood privilege an hubris put me in mind of a different song--Neil Young's "Revolution Blues." Specifically the bit about Laurel Canyon being filled with famous stars . . .
  34. I do hate to say it -- it's really a drag, but why did they let this Cat out of the bag?
    • 50 Metascore
    • 12 Critic Score
    Suffocatingly boring.
    • 34 Metascore
    • 12 Critic Score
    We loved this movie the first three times we saw it, when it was called "Life of Brian," "Wholly Moses," and "History of the World Part 1."
  35. Sarah Jessica Parker’s Carrie should be a cautionary tale of perpetual adolescence; her character should be out dating any number of Hollywood’s graying beer bellied frat boys. But no. Instead, we are asked to identify and sympathize with a person who gets everything she wants, but complains anyway.
  36. There's never any real danger in the movie, which makes The Expendables feel like one of those chummy Rat Pack flicks that were just excuses for a bunch of pals to get together and goof off.
  37. Tron: Legacy will only be enjoyed by men in their thirties and early forties searching for a Proustian moment.
  38. Uncomfortable, offensive, and boring.
  39. It’s a waste.
  40. There's enough estrogen gone awry in this bitchy teen comedy to make "Mean Girls" look like a Disney after-school special.
    • 30 Metascore
    • 0 Critic Score
    Waiting is, at its root, a heaping handful of almost-funny ideas cobbled together without much skill for shaping a story. The result is that one in five provokes a smile, while the other four make the viewers slightly sick that they now have to remember what they just saw.
  41. I can’t say I was too surprised by how risible, grotesque, and incoherent I Know Who Killed Me is. But I can’t say I was prepared for its pretentiousness. If the picture has any use at all, it’s as a case study in what happens when the talentless attempt to emulate the inspired.
  42. If raunch-comedy maestro Judd Apatow had not just an evil, but an evil-and-untalented twin, this grotesque excrescence would be his signature work.
  43. Visually ugly, morally non-existent and a complete black hole in the departments of insight and wit, Chapter 27 is quite possibly the most godawful, irredeemable film to yet emerge in the 21st century.

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