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 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 There Will Be Blood
Lowest review score: 0 Gigli
Score distribution:
1,070 movie reviews
  1. The script's flaws are most keenly felt in the Jodie Foster storyline, to the point where her character seems more like a bumbling screw-up than a supposedly sought-after facilitator. Whenever Lee turns the camera back to Denzel and Clive though, the movie works.
    • 62 Metascore
    • 75 Critic Score
    You'll laugh, you'll groan, you'll never buy wool again.
    • 64 Metascore
    • 75 Critic Score
    If you're looking for memorable dialogue and gripping drama, then you better get in line for another flick. But if it's spellbinding special effects and high-wire acts you crave, Wanted should be at the top of your list for big budget thrill rides.
  2. So tasteless, so fiendishly puerile that it’s hilarious.
  3. The action is great, the story line unpredictable, the ending satisfying. Stander is crackling. Really.
  4. A thoughtful, involving and sometimes moving film that almost (and I do mean almost) justifies its use of 9/11 as a dramatic device.
    • 70 Metascore
    • 75 Critic Score
    Action fans might find the film's first half somewhat of a slog to sit through because of its carefully honed exposition, while those used to Zhang's dialogue-heavy dramas are sure to be surprised by the film's brutal second half where blood spurts more than the words.
  5. Iron Man is the first Marvel Comics superhero movie I would willingly sit through a second time. This is the result not just of what the movie does, but what the movie doesn't do.
    • 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.
  6. The fact that Boyle and Garland have here created something close to an actual trip rather than the mere spectacle that most screen sci-fi contents itself with being nowadays is enough to recommend Sunshine.
  7. MacGruber is crude. It’s obscene. The dialogue is puerile and the jokes adolescent. And for the most part, it's hilarious: a bawdy riot drunk on impropriety, which is why the movie works.
    • 36 Metascore
    • 75 Critic Score
    If you liked the first then you are going to like this one as Clouseau is offensive and outrageous, which is a perfect fit for one of the "Wild and Crazy Guys."
  8. 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.
  9. Tristan & Isolde isn't a ground-breaking film in any way, but even though the story is familiar and even if you don't like romances, good casting, an able director, and notable cinematography draw you in to the fairy tale feeling of long ago and far away. Pass the popcorn.
    • 68 Metascore
    • 75 Critic Score
    A visual delight as well as an satisfying period drama.
  10. A picture about tragedy in one American family's life, and it's a convincing and humane one.
  11. It’s worth seeing twice just for the privilege of watching Rampling and Sagnier match each other stroke for stroke.
    • 54 Metascore
    • 75 Critic Score
    An often highly amusing comedy in the vein of "Catch 22" and "Dr Strangelove," this lively satire looks destined for future cult status. Great soundtrack, too.
    • 61 Metascore
    • 75 Critic Score
    Fighting is a fun, frank and faithful homage to simple inner-city drama.
    • 35 Metascore
    • 75 Critic Score
    It is unapologetic about delivering what it promises. Bigger battles. Massive explosions. Megan Fox looking hot.
  12. A wildly creative amusement, thanks mostly to Campbell, whose weathered yet still-taking-care-of-business Elvis is alone worth the price of admission.
  13. What sets Fast Food Nation apart from other recent multi-character studies like "Crash," "Bobby," and "Babel" is that Linklater doesn't set up a single incident that ties all the story strands together.
  14. 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.
  15. This is a real grabber.
  16. Wheeler's script is a buzzing contrivance, and Hallström's direction is brisker than almost anything he's ever done. So by all means enjoy The Hoax -- it's smart fun. Just don't buy it.
  17. It touches deftly on class and race and sexual dissatisfaction and never lets up once it has put its characters under a microscope. Beautifully acted throughout, it showcases Watson's most complex performance in years.
    • 72 Metascore
    • 75 Critic Score
    This Superman is like nothing you've ever seen before, but it tickles something primitive and comforting at the back of the mind. Gorgeously detailed and meticulously realized, it's a homecoming of a movie. Just wait for the theme; you'll understand.
    • 83 Metascore
    • 75 Critic Score
    A smart, brisk, but extremely thoughtful hybrid of star-vehicle and resonant depiction of right-now America.
  18. The picture’s great, fast-moving fun for the most part, and Kilmer gives his most appealing, relaxed, and amusing performance since "Real Genius."
  19. 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.
  20. While you can never completely put the fact that you are watching Pitt and Blanchett out of your mind, they both give charged, emotional performances.
  21. All of the actors are on point (Dupontel and Morante are particularly good), the individual story arcs are involving, if not exactly complex, and Thompson keeps the proceedings moving along at a comfortable clip.
    • 64 Metascore
    • 75 Critic Score
    It’s a playful study of Arctic life, starring a polar bear cub, its prey, and a tagalong fox -- with the inevitable dramatic moments when bear meets walrus.
  22. 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.
    • 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.
  23. 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.
  24. I say this as someone for whom the very idea of a Kong remake is sacrilege, Jackson's straitened conception yields up a pretty damn good popcorn movie.
    • 52 Metascore
    • 75 Critic Score
    Can he (Dwayne "The Rock" Johnson ) act? Surprisingly, for the most part, the answer is yes, and the film is a success for it.
  25. 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.
  26. Though Melinda is no masterpiece, it’s also an Allen film that requires almost zero special pleading.
  27. With his directorial debut, screenwriting stalwart Scott Frank concocts a compelling variation on a reliable film noir convention.
  28. Hollywoodland is one of the nicest surprises of the late summer lull between blockbuster seasons, a smart period mystery--cum--character study--cum--bitter parable on the lures and liabilities of life in its titular locale.
    • 54 Metascore
    • 75 Critic Score
    The aptly-named Crash is played to a tee by West; in fact, his performance was so believable that he's currently on tour with the reformed Germs as the lead singer.
  29. Director Dylan Kidd sneaks some pretty profound observations about love and life by us.
    • 63 Metascore
    • 75 Critic Score
    In the end, it's not Amy's secret that's the most shocking thing about Sleeping Dogs, it's Hamilton's fearless commitment to making what could have been just a cheap punch line into something warmer, richer, and far better.
  30. A definite crowd-pleaser, Hustle & Flow has all the makings of a massive cultural phenomenon - if only audiences can get past the whole pimp thing.
  31. It's a film that approaches greatness and then fumbles.
  32. Neeson and Brosnan, along with the beautiful location photography from DP John Toll, keeps you involved even when Von Ancken's heavy-handed direction threatens to bog the proceedings down.
  33. Julia Roberts has never played a dowager before, but heaven knows she makes a good, and funny, one.
    • 47 Metascore
    • 75 Critic Score
    Halloween is a real, classic-style horror movie, not an exercise in gross special effects. Oh, and for those who’ve missed Carpenter’s classic, this will scare the candy corn out of you, but the original is still champion.
    • 70 Metascore
    • 75 Critic Score
    Despite some amusing jabs at America's influence on traditional China, this film leaves even this American viewer feeling oddly patriotic (or maybe just wishing she lived in China.)
  34. It’s hilarious, and genuinely cool.
  35. A droll, poignant comedy enlivened by two terrific performances.
  36. Thanks to the movie's very clear respect for Cash and his music, and thanks mostly to the two superb, heartfelt performances by Reese Witherspoon as Carter and Joaquin Phoenix as Cash, Walk the Line eventually earned my sympathy.
    • 55 Metascore
    • 75 Critic Score
    Hathaway's proven charms work magic here.
    • 69 Metascore
    • 75 Critic Score
    Driving the plot, Baldwin gives an inexorable, career-marking performance.
    • 64 Metascore
    • 75 Critic Score
    It's not often that Hollywood is willing, or even able, to accurately dramatize what it's really like to be poor in America -- to evoke not only the circumstances, but also the sense humiliation and failure. That a European director like Gabriele Muccino, helming his first English-language film, is able to capture the essence of that experience is a testament to his skill as a filmmaker.
    • 75 Metascore
    • 75 Critic Score
    The movie isn't a send-up or a takedown of fairy tales -- it's a fairy tale.
  37. This finale, which piles one bloody absurd epiphany on top of another almost ad infinitum, is where McDonagh lays all his cards on the table -- and his characters are the ones who have to pay up.
  38. Hood's film, with its bold, beautiful cinematography and hard-thumping kwaito music, brings us into a different world, and then helps us to understand it.
  39. What to make of it all? Hard to say. Just to take in the fact that its soundtrack is made up of music by both J. Spaceman and Sun City Girls is to understand that this is a picture that's divided against itself in a way that's perhaps too hermetic to be comprehended.
  40. Comedy-action lunacy of a truly high, and endlessly bizarre, order.
  41. 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.
  42. Mitchell's energy and occasional ingenuity make Shortbus an engaging viewing experience, provided you can stomach it.
  43. 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.
    • 61 Metascore
    • 75 Critic Score
    Grab some popcorn and make a pit stop, then sit back and enjoy it. You signed up for a movie about giant robots.
    • 72 Metascore
    • 75 Critic Score
    If nothing else, this doc, which one the Grand Jury Prize and Audience Award at last year's Sundance Film Festival, will leave you feeling that the American dream is still alive and well.
  44. 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.
    • 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.
  45. At its best, Mahowny is intricate, engrossing, wryly funny, and strangely poetic.
    • 89 Metascore
    • 75 Critic Score
    Much of this story is indeed entertaining: there's a tone of lighthearted mischievousness to the plotting and scheming of an illegal act that is essentially harmless.
  46. 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.
    • 49 Metascore
    • 75 Critic Score
    You can't help but see this movie being crafted out of shards of movies past, seemingly in a cut and paste method. In the hands of a less skillful director, the film could very easily flop, but it doesn't.
  47. The actors in The A-Team are all excellent, and they save a movie that routinely defies logic and physics Liam Neeson brings credibility and gravitas to any role he plays, but as "Hannibal" Smith, he swaggers like a paternal Han Solo.
  48. Michal Clayton shares a number of affinities with Paddy Chayefsky and Sidney Lumet's "Network." Wilkinson's got the so-mad-he's-sane Peter Finch position; while Swinton embodies a sexless, neurotic, overstressed variant of Faye Dunaway's character. Which leaves Clooney as the (considerably younger) William Holden of the piece. And, yes, he makes the most of it.
  49. As science gives way to science fiction, the movie loses its way, squandering time that might better be spent exploring the ocean's floor, where these alien life forms already among us must be seen to be believed.
  50. It's kind of amusing to see slinky Christina Aguilera sing the "Live With Me" line about a score of harebrained children, as she clearly hasn't got the faintest idea of what that means.
  51. More often than not laugh-out-loud hilarious.
    • 61 Metascore
    • 75 Critic Score
    By handing the directorial reigns to Louis Leterrier, the Parisian filmmaker responsible for the breathless "Transporter" films, Universal reveals its desire to emphasize spectacle over story.
  52. A sweet, sunny, cinematic song of praise to simple '70s pleasures, Roll Bounce isn't any kind of life-changing picture, but it's breezy, good-hearted fun.
  53. The result is a film that's almost unremittingly bleak, but also consistently compelling.
  54. 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
  55. 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.
    • 54 Metascore
    • 75 Critic Score
    The random and unpredictable nature makes it an extremely interesting film to watch.
  56. The film is well-paced and surprisingly suspenseful.
  57. As long as Guggenheim keeps his cameras trained on Gore's presentation, An Inconvenient Truth is an engaging film. Less successful are the scenes where Gore is seen off-stage, traveling around the world and visiting his childhood home.
  58. Imelda Staunton is absolutely astonishing.
  59. Anybody can make a movie that's anti-slavery. But to make a movie that's explicitly anti-democracy-that's something.
  60. For whatever its flaws, Redbelt offers up a good deal of Mametian red meat while also trying to break out of some of the strictures that Mamet's erected around his own work.
  61. 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.
  62. Those last thirty minutes are worth the price of admission.
    • 47 Metascore
    • 75 Critic Score
    Ultimately, we don't purchase tickets to Will Ferrell movies for their sweeping romantic storylines, but because he makes us laugh. And Semi-Pro offers plenty of reasons to do so.
  63. Moncrieff’s overriding theme here isn’t empowerment but survival. The movie crams a hell of a lot of dysfunction into its 88 minutes.
    • 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.
    • 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.
  64. It takes a good fifteen minutes to fully adjust to the screenplay's rhythms, but once you do, the dialogue is a lot of fun to listen to.
    • 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.
    • 62 Metascore
    • 75 Critic Score
    Doesn't function particularly well as a documentary; it lacks a strong editorial point of view and doesn't really comment on the evangelical movement so much as it just portrays a selection of people and their views.
  65. This is a movie, not a position paper, and Moore aims to entertain as he informs.
    • 76 Metascore
    • 75 Critic Score
    Superbad is just a great time, plain and simple.

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