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 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Wrestler
Lowest review score: 0 Gigli
Score distribution:
1,070 movie reviews
  1. Proceeds at a very stately pace, hoping the otherworldly mood of its detailed recreation of the old West might seep into the viewer's bones. This viewer did, as it happens, fall under the film's spell.
  2. The action is violent, messy, and threaded through with dark humor. This is a movie for grownups, for sure, but it has a mulish kick that most such pictures consider themselves to tasteful to aspire to.
  3. A smart, sweet, and thoroughly disarming ensemble comedy that isn't afraid to wear its humanism on its sleeve.
  4. Lars's attraction to Bianca is like an audience's to an actor onscreen -- the object is fake, an approximation, but for some that's better than flesh and blood. Bianca is a work of art. And so is Lars and the Real Girl.
  5. Haynes's picture may not be perfect -- hell, I'm not even sure that perfection is a state it even aspires to -- but it's bold and individualistic and accomplished. A reason to take heart for the state of current American moviemaking.
  6. I generally resist calling any actor's work "brave" or "fearless" or any such thing, but Bosco's work here made me reconsider that self-imposed ban. It's incredible, harrowing, precise stuff.
  7. Margot is a fleet, strangely enjoyable film, animated by the acuity of Baumbach's perceptions and -- this helps a lot -- the frequent laugh-out-loud wit of his dialogue.
  8. It's terribly strong -- in structural ingenuity, emotional pull, and particularly visual beauty.
  9. All of these actors are incredibly fine, and as a confirmed Beckinsale non-fan, I'm obliged to say that she really knocked me out here.
  10. This is very much a French intellectual cineaste's idea of a B thriller, and hence is as far from innocent in its genre as you can get. Which is not to say that Assayas deals in bad faith.
  11. It's distinctly Morrisean, as it were, and seeing his style applied to subject matter with which one is already somewhat familiar makes one... well, question the style a bit.
  12. The Fall is a movie whose every frame pulsates with the desire to be a transportive, transcendent work of cinema. And each one of said frames is full of visual bedazzlement and wonder. So full that one is loathe to sum up with the phrase "Close, but no cigar." But there is something, finally, kind of pushy about the film's desire to be a masterpiece.
    • 71 Metascore
    • 88 Critic Score
    From Downey Jr.'s purposely racist embodiment of African-American anachronisms to Black's scatological humor, everything in Tropic Thunder qualifies as satire, not spoof. It's an important distinction. Pauline Kael once noted that "unlike satire, spoofing has no serious objectives; it doesn't attack anything that anyone could take seriously; it has no cleansing power."
    • 72 Metascore
    • 88 Critic Score
    This is one train that you shouldn't miss.
    • 58 Metascore
    • 88 Critic Score
    The perfect antidote to the post-holiday blues. It's exciting, well-acted, touching, and genuine.
    • 83 Metascore
    • 88 Critic Score
    A remarkable and disturbing look at the personal stories glossed over by the headlines.
    • 84 Metascore
    • 88 Critic Score
    Sally Hawkins offers an Oscar-worthy performance as Poppy, the funny, kind-hearted, and mischievous protagonist.
    • 67 Metascore
    • 88 Critic Score
    At turns as neurotic and nebbishy as any Woody Allen flick, as creepy and disorienting as your favorite "Twilight Zone" episode, and as steeped in magical realism as the most moving Márquez novel, Synecdoche may not be the feel-good date movie of the year. But for viewers up for the challenge, it may be the film most likely to stick with you.
    • 24 Metascore
    • 88 Critic Score
    Sometimes the only funny stuff is in the trailers, but not so here. Kristen Johnson was especially adept at stealing some scenes.
    • 50 Metascore
    • 88 Critic Score
    The beginning is a little slow, but after Neeson starts his hunt and does his best wrath-of-God impression, it doesn’t skip a beat.
    • 80 Metascore
    • 88 Critic Score
    The story is creepy fun and 100-percent different than whatever other crap is flooding the February market.
    • 47 Metascore
    • 88 Critic Score
    Ginnifer Goodwin gives a standout performance--and that’s saying a lot considering the large cast--as the insecure, neurotic female looking for love.
    • 70 Metascore
    • 88 Critic Score
    This movie was absolutely hilarious, and proved that dating might be easy, but making friends is much harder.
    • 88 Metascore
    • 88 Critic Score
    Each character has their own story, and Pixar never sacrifices their development just for a happy ending.
    • 77 Metascore
    • 88 Critic Score
    We actually had the urge to dodge the sea snakes swimming right at us.
    • 63 Metascore
    • 88 Critic Score
    You might not bust a gut laughing, but Malkovich’s performance alone is worth the 90-minutes required to watch it.
    • 76 Metascore
    • 88 Critic Score
    On the surface, this might look like a typical teen movie, but Adventureland’s talented cast perfectly portrays the self-loathing and strong-minded characters in that transient post-college stage of life.
    • 81 Metascore
    • 88 Critic Score
    A great-looking and smart film. It has enough action, wonder, depth, and action to keep any fan of the genre happy. The sociological undertones here are fascinating as well.
    • 92 Metascore
    • 88 Critic Score
    The credits may be silly, but the last scene is a definite tear-jerker.
    • 63 Metascore
    • 88 Critic Score
    Why John Cusack stopped doing this kind of movie remains one of the late-20th century’s great mysteries. Teaming him with contemporary comic vanguards Corrdry and Robinson is equal parts welcome and unexpected as the three relive the social, sexual, and Soviet fears of the era.
    • 83 Metascore
    • 88 Critic Score
    We were also glad to see they didn't ignore the humorous elements that made the original so great. Plus, the casting is spot on.
    • 74 Metascore
    • 88 Critic Score
    Inception is one of the best sci-fi movies of the new century, a mind-bender about dreams as public spaces.
    • 74 Metascore
    • 88 Critic Score
    It's the kind of smart, stylish, entertaining and grown-up movie that the studios are making less and less of these days.
  13. The film is beautifully acted by all, but Nora-Jane Noone, as the sloe-eyed orphan Bernadette, is first among equals here, and a genuine find.
  14. The actors and acting are so attractive--as is, per usual in a Merchant Ivory production, the scenery--that the movie’s less deft handling of the scenario’s various themes, not to mention some stumbling in the final quarter, when the story’s tone grows a little darker, doesn’t stand out as much as it might have.
  15. Intelligently written and beautifully acted throughout, it’s a good, and rare, example of what we used to refer to as a movie for adults. Adults, be advised.
  16. If you dissect Masked line by line, it would be, like a Dylan song, indecipherable. But if you take the allegory as a whole, by simply asking the questions, it somehow makes a statement. Is it muddled? Yes. Imperfect? Sure. Impenetrable? Well, that's open to interpretation.
  17. The film has its charm, mostly found in its lead characters, who engage in harmless hijinks due to their language and cultural differences.
  18. Malkovich is more interested in hitting notes of elegiac lyricism than delivering socko action; this is a thriller that means to get under your skin rather than make you leap from your seat.
  19. At its best, Mahowny is intricate, engrossing, wryly funny, and strangely poetic.
  20. What isn't fair is the film's R rating, which makes this charming coming-of-age tale virtually inaccessible to the audience sure to cherish it most.
  21. Duff is a charming heroine who carries the movie cheerfully, if not gracefully--the pratfalls come early and often.
  22. Surely it’s a credit to this luminous cast that the characters can behave in such despicable ways yet still command one’s sympathy.
  23. The true sensory delight is when the two men share screen time, and the palette is bombarded with their contrasting hues, the score (by Pascal Esteve) even meticulously interlacing their two musical personalities.
  24. Lee’s use of split-screens and dynamic transitions makes the process of actively interpreting his monstrous vision a fresh and unrivaled experience.
  25. Moncrieff’s overriding theme here isn’t empowerment but survival. The movie crams a hell of a lot of dysfunction into its 88 minutes.
    • 71 Metascore
    • 75 Critic Score
    Until the point that changes everything, Manito is more a portrait of a neighborhood and its various characters--and this is the even more impressive part of the film. Once the disasters start to domino, the story becomes a bit familiar, a bit manipulative.
  26. It’s worth seeing twice just for the privilege of watching Rampling and Sagnier match each other stroke for stroke.
  27. It puts almost everything it has into its explosive set pieces, but manages to instill the audience with just enough emotional involvement. If, Ah-nold decides to come bach again, this installment should ensure he has an audience.
  28. Comedy-action lunacy of a truly high, and endlessly bizarre, order.
  29. Understated, quietly amusing, and steadily paced.
  30. It's churlish, especially these days, to try to split the difference between an immortal comedy classic and a mere laugh riot.
  31. So tasteless, so fiendishly puerile that it’s hilarious.
  32. It plays on your knowledge of/expectations about generic horror movies and then either delivers the goods from an unexpected angle or pulls the rug out from under you.
  33. It's the details that make Dummy such a winner. By way of comparison, consider last summer's "My Big Fat Greek Wedding," in which each actor put a heartfelt spin on his or her one-joke character (the father who believes that Windex cures everything). Well, here's an entire movie built on nuggets like that.
  34. A wildly creative amusement, thanks mostly to Campbell, whose weathered yet still-taking-care-of-business Elvis is alone worth the price of admission.
  35. Surprisingly clever, high-energy adventure (director Peter Berg should be proud).
  36. Although director Eytan Fox focuses on Yossi and Jagger's specific situation, he also casts a critical eye on the responsibility military service puts on all young people who are still in the process of discovering themselves.
  37. Though the movie is predictable, it's also honest; Fin emerges from his struggles a better person but not A Better Person, if you catch my drift. And in any case all of the actors are a great pleasure to watch.
  38. While it's not nearly as beguiling as the Coen's last pic, the uncanny "The Man Who Wasn't There," Cruelty is still a brisk hoot.
  39. While not a masterpiece along the lines of "The Lion King," and not a super-smart witticism-fest like "Lilo and Stitch," Brother Bear is deeply heartfelt, touching, and beautiful.
    • 55 Metascore
    • 75 Critic Score
    Howard’s inclination toward graphic, gruesome violence, reminiscent of Ransom’s grisly denouement, The Missing is, at its core, a story well-told and built upon the solid foundation of Blanchett’s supremely capable performance.
    • 69 Metascore
    • 75 Critic Score
    Driving the plot, Baldwin gives an inexorable, career-marking performance.
  40. With the careful timing and nuance of a master actor, Sharif turns a two-dimensional sketch into the film's most absorbing character.
  41. The film is well-paced and surprisingly suspenseful.
    • 45 Metascore
    • 75 Critic Score
    Director Mike Newell strips away facades and keeps this movie singing to the feel-good ending where everyone learns a life lesson by graduation time, whatever their choice may be.
    • 46 Metascore
    • 75 Critic Score
    Cheaper entertains a broad audience by recalling an age of family filmmaking when that term wasn’t synonymous with crap.
  42. What On the Run has going for it: solid acting, taut editing, smartly economical dialogue, an elevatingly reverberant score, and a rousing vitality that left me salivating for The Trilogy in full.
  43. Miracle is definitely exciting, and it’s family-family to boot. Take the kids. They may not buy the "any dream is possible" stuff, but if nothing else, the story might pique their interest in American history.
  44. Given that the B-to-Z movies parodied in Cadavra were funny to begin with, it begs the question as to why writer-director-star Larry Blamire and company bothered. I think they’re not so much nostalgic for this type of movie as they are for the kind of laughter it provoked.
  45. The Broken Lizard guys don't so much send up a genre as inhabit it, and subvert it from the inside.
  46. Bergman wants the viewer to empathize more with the characters’ perseverance than their pain, and he pulls it off, thanks to his sharp eye, compassion, and humor, and of course to the performances. [March 2004, p. 26]
  47. An amply entertaining tale of survival terror, fully realizing the epicness of Romero's vision by infecting every wide-angled overhead shot with as many computer-generated cadavers as possible, and bridging tense moments with a laugh-aloud, plucky wit.
  48. It’s tempting to summarize this Irish picture as a working-class version of "Love Actually," and indeed, the hardscrabble lives of most of its amorously unfulfilled characters go a long way in making it a whole lot less emetic than Richard Curtis’s hugfest.
    • 72 Metascore
    • 75 Critic Score
    If the film's love triangle feels a little silly and the arch-villains a little over the top, it's all secondary to del Toro's passionate immersion in Hellboy.
  49. Films like this have a way of finding their own devoted fan base, and Gypsy 83 deserves to be discovered not only by Goth and gay crowds, but by anyone who runs screaming from all things average.
  50. It’s rich enough in atmosphere to make you almost buy the quasi-allegorical absurdities.
    • 38 Metascore
    • 75 Critic Score
    A subtly hilarious supporting performance from Frances Fisher, as Moore's mother, and a latter-day Sid and Nancy (Michael Sheen and Parker Posey, seeming deliriously inebriated the entire time) round out the thoroughly diverting cast.
  51. Mean Girls depicts the kind of traumatic high school experience that might await spoiled rich girls who grow up in two-parent households with designer clothes and Escalades.
    • 56 Metascore
    • 75 Critic Score
    Wolfgang Petersen's Troy recalls an age when Hollywood not only gambled on but flourished with grandiose epics and casts of thousands, and brings megawatt star power to what is, at root, a brilliantly told story.
  52. The humor is so satisfying in its moment-to-moment pleasures that it's almost unsportsmanlike to criticize the bigger picture.
  53. Kids deserve an adventure movie like this, one that might inspire them to become junior inventors and ignite their interest in the world's many wonders.
  54. While Solondz's world is a hell hole and Anderson's "Rushmore" is a place of high-toned and often poignant whimsy, Napoleon Dynamite's unceasing burlesque creates a world that is pretty much a cartoon--and it's a damn funny cartoon to boot.
  55. There are more than a couple of moments in this film, adapted by writer-director Tod Williams from a big swatch of Irving’s multigenerational quilt "A Widow for One Year," that get Irving’s sense of grotesque tragedy and tragic grotesquerie just right
  56. Anchorman is the kind of wonderful, cotton-candy escapism that should leave you with the right kind of stomachache.
    • 59 Metascore
    • 75 Critic Score
    Home is a difficult film for its viewer, because none of the leads fall into the comfortable categories of film characters played by movie stars.
  57. The action is great, the story line unpredictable, the ending satisfying. Stander is crackling. Really.
  58. Exceptionally strong performances from the entire cast draw you into the movie's deliberately provocative world, a "Lord of the Flies"–like realm where parents are noticeably absent.
    • 59 Metascore
    • 75 Critic Score
    It's capable and strong direction that hold the audience through the final match, but in the end, it's Paul Bettany's world, and the rest of us are just happy to visit for an hour and a half.
  59. This is a real grabber.
  60. Some might not even notice what's going on when director Walter Salles finally shows his hand, and ends the film with documentary footage of the real-life Granado, now aged 81, romping in the earthly paradise that is present-day Cuba.
  61. Shame is a welcome reminder that sex is sometimes too ridiculous to take so seriously.
  62. Imelda Staunton is absolutely astonishing.
  63. This is Gere’s movie, and Sarandon and Lopez graciously let him dance away with it.
  64. Director Dylan Kidd sneaks some pretty profound observations about love and life by us.
  65. In equal parts powerful and peculiar, the film is not my favorite of Green’s, but it helps solidify his position as one of the most visionary young directors around.
  66. Ray
    Delivers platinum performances, especially Sharon Warren as Ray's tough-lovin' mother, Kerry Washington as his lily-tempered wife, and Regina King as his spitfire mistress.
  67. Most of the dialogue is pretty fresh, and it’s delivered with great brio, particularly by Owen. Roberts, alas, is not at her best here, but she has almost nothing to work with.
  68. All told, while the goods that Daggers offers are choice, the movie ultimately demonstrates that too much can be, well, more than enough.
  69. Soderberg provides a cornucopia of fizzy, post–New Wave imagery, fitting for a picture that’s pretty much all about surfaces.

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