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 The Dreamers
Lowest review score: 0 Waiting...
Score distribution:
1,070 movie reviews
  1. 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.
    • 55 Metascore
    • 75 Critic Score
    Still, the film actually earns the description of being inspirational, not only to those of us with a dream, but to those who thought the quality family film had died long ago.
  2. Perpetually wide-eyed and mega-snarly bedraggled, Christina Ricci prowls through Black Snake Moan looking like something the cat dragged in. If you're anything like me, you'll be very grateful to the cat.
  3. It's a film that approaches greatness and then fumbles.
  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.
  5. It is trim, fast-moving and often quite funny, particularly in the exchanges between Ferrell and Heder -- the former's trademark clueless oafishness meshes nicely with the latter's alternating current of petulance and sweetness.
  6. With his directorial debut, screenwriting stalwart Scott Frank concocts a compelling variation on a reliable film noir convention.
  7. 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.
  8. Year of the Dog would have benefited from a stronger hand behind the camera (White's general aesthetic basically involves cribbing heavily from Wes Anderson and Jared Hess), but as a showcase for Shannon, it ends up being strangely moving.
  9. Deeply nuts and exhaustingly hilarious.
  10. It's an awful shame that Shelly will not be making any more films, but all the more reason to celebrate Waitress now.
  11. A gruelingly tense, deftly plotted, and slyly intelligent piece of work. And also it's really really disgusting.
  12. More often than not laugh-out-loud hilarious.
  13. As the caper reaches its conclusion in a swirl of turnabouts and twists -- you'll never guess in whose favor all of them go -- Thirteen delivers more than enough gaming satisfaction for one such picture.
  14. The crazy fantasy world of this saga is plenty compelling and quirky.
    • 64 Metascore
    • 75 Critic Score
    Up will still make you feel like you've caught a big wave.
    • 55 Metascore
    • 75 Critic Score
    The film is punctuated by a literal knock down, drag out affair that has all the perverse curiosity of watching a "late career" Mike Tyson bout. But by the end, the real knockout is the discovery of this comic gem.
    • 70 Metascore
    • 75 Critic Score
    Sandy, Danny, and their sexier counterparts Rizzo and Kenickie are spectacular fun to watch, especially in their non-TV-edited glory. Though it's virtually impossible to forget, and stay quiet during, the film's many songs, it's also surprising to remember all of the racy dialogue and double entendres in the original. Or maybe it's just that we never got them when we were ten.
  15. What does not work, in a movie where almost everything, including dramatic rhetoric, has been kept on a modest scale up to this point, is the heavy-handed way Winterbottom (and Jolie) contrast the pain of loss with the pain of begetting toward the end.
    • 62 Metascore
    • 75 Critic Score
    You'll laugh, you'll groan, you'll never buy wool again.
  16. This is a movie, not a position paper, and Moore aims to entertain as he informs.
    • 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.
  17. One of the most diabolical things about this psychological thriller is just how open to interpretation it is.
  18. Pheonix is smartly-constructed enough that non-acolytes interested in checking out Harry's world won't need too long to catch up.
  19. A droll, poignant comedy enlivened by two terrific performances.
  20. Ghosts is one of Forman's most ambitious and daring films; would that all of its ambitions were fulfilled.
  21. This Hairspray really is a lot of fun -- colorful, sassy, and brisk.
  22. 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.
    • 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.
    • 55 Metascore
    • 75 Critic Score
    Hathaway's proven charms work magic here.
  23. Most thrillers of this ilk have no qualms about going past the 120-minute mark, but I think Greengrass and company understood that overdoing it would turn mass excitement into massive headache.
    • 43 Metascore
    • 75 Critic Score
    The fantasy here – dubious as life choices go, but great for a 90-minute comedy – is that you can stay 16 forever.
  24. Stardust is an eye-poppingly elaborate fantasy that's shot through with action-movie adrenaline and attitude.
  25. It's goofy as hell but devilishly smart about it, which is why it's such great fun.
    • 76 Metascore
    • 75 Critic Score
    Superbad is just a great time, plain and simple.
  26. As The 11th Hour's message of Profound Importance warrants a four-star rating, the film itself does not.
    • 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.
  27. In the battle of the leading men, Crowe's character has a slight edge, and the actor really makes the most of it, showing us how boyishly mischievous charm and utter venality can exist without seeming contradiction in the same being. But Bale builds to a pretty impressive boil himself after laying back for about three quarters of the film.
  28. The result is enjoyable and frequently affecting. The one weak note is Douglas' performance — he does more than phone it in, but his essential Douglas-ness makes the character less believable than he might have been.
  29. Penn has often said that he dislikes acting and would prefer to direct full time. Into the Wild is impressive enough to give him license to do just that.
  30. 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.
  31. The film also has an unexpected and rich vein of humor. John Carroll Lynch -- you might know him as Norm Gunderson of "Fargo" -- is a stitch as a neighbor of the Burkes.
  32. At its best, it throbs with immediacy, just as Strummer did.
    • 42 Metascore
    • 75 Critic Score
    Silly, heartwarming, and fun.
    • 75 Metascore
    • 75 Critic Score
    The movie isn't a send-up or a takedown of fairy tales -- it's a fairy tale.
  33. If a woman had not in fact certifiably written the picture, I might have thought that Lester Bangs had come back from the dead to pen an account of the teen years of his ideal mate.
  34. The settings are handsome, the cinematography accomplished, the performances first-rate.
  35. A picture about tragedy in one American family's life, and it's a convincing and humane one.
  36. Julia Roberts has never played a dowager before, but heaven knows she makes a good, and funny, one.
    • 64 Metascore
    • 75 Critic Score
    It's not the life-changing movie experience the intense viral marketing attention would lead you to think it is, but its decision to focus on ground-level humanism rather than epic disaster is what separates it from the pack.
    • 70 Metascore
    • 75 Critic Score
    The penetrating musical score, with its memorable shadings of emotional danger, the snappy and confident pacing and the emergence of 33-year-old Labaki as an international talent to watch all combine to make the film satisfying confection.
  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.
    • 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.
  38. The suspense aspect works like mad, but what's also noteworthy is the character component, which at times evokes a "Smash Palace"-era Donaldson.
    • 65 Metascore
    • 75 Critic Score
    A collection of Hitchcock character-types trample over each other to win at love in Married Life, a quirky but entertaining period murder farce.
  39. The interpersonal dynamics haven't been scripted out very thoughtfully, so as the final 20 minutes wind down, it becomes increasingly tough for Penn and his talented cast to mine humor from a story that mandates they actually play elimination rounds of poker.
  40. It's rare that a picture that deals with as much tragedy as this one also manages to convey as much warmth to its characters.
  41. 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.
    • 57 Metascore
    • 75 Critic Score
    At the screening I attended, someone walked in wearing a shirt that read "I HEART BONGS," so that gives you a pretty good idea of the target audience. Maybe this time they will rouse themselves from the couch and make it possible for us to follow Harold and Kumar through more adventures.
  42. 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.
  43. 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.
  44. 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.
  45. This is not a film occurring in an alternate or imaginary reality; rather, it is a film of NO reality, that is, a picture that changes the rules of its universe strictly according to its creators' whims.
    • 53 Metascore
    • 75 Critic Score
    It gives you everything you ever loved about the series, and blows it out into super-size cinematic proportions.
    • 73 Metascore
    • 75 Critic Score
    It was definitely a great idea to give Kung Fu Panda the IMAX treatment. The fight scenes, quivering whiskers and moist noses, foggy mountaintops, and fluttering peach blossoms are equally impressive on the huge, curved screen.
    • 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.
    • 94 Metascore
    • 75 Critic Score
    When it works, it really works, but it's debatable whether its target audience will really enjoy anything more than the nifty robots. Which is fine, too. Robots are pretty cool.
    • 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.
    • 58 Metascore
    • 75 Critic Score
    It's equal parts shivery and silly -- eyeball popping in slo-mo!
    • 82 Metascore
    • 75 Critic Score
    Nolan's strong suits are maniacal schemers and moody character-driven intrigue, both of which make The Dark Knight a sleek (if, at close to three hours, somewhat distended) detective story.
    • 55 Metascore
    • 75 Critic Score
    Fans of strange love stories and detective thrillers would do well to investigate this indie gem.
    • 51 Metascore
    • 75 Critic Score
    Step Brothers is a hard R, for good reason. While it's somewhat sweeter, if you will, than a typical Apatow flick, the ludicrous situations call for equally ludicrous behavior and statements.
    • 82 Metascore
    • 75 Critic Score
    It's difficult to enjoy a thriller in which the big reveal is such a clunker, but if there's an exception to that rule, Tell No One might be it.
    • 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.
    • 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.
    • 70 Metascore
    • 75 Critic Score
    Allen does craft a fairly observant account of human behavior, so that the solemn aspects don't put a damper on the humor, or vice versa.
    • 52 Metascore
    • 75 Critic Score
    Despite some laughably silly plot elements, McG has created an overall entertaining movie experience. It's a great kick-off to the summer explosion season.
    • 64 Metascore
    • 75 Critic Score
    It's a fantasy of one night in New York City and all its insanity, grossness, romance, and glamour.
    • 47 Metascore
    • 75 Critic Score
    While the movie will definitely not be to everyone's taste, black-hearted romantics will find Choke easy to swallow.
    • 53 Metascore
    • 75 Critic Score
    Though the plot has a few too many holes in it, the sheer fun of RockNRolla makes it easy to overlook such quibbles. Butler will make you forget all about "Sparta."
    • 57 Metascore
    • 75 Critic Score
    One of the pleasures of the film is that the themes don't hit you over the head.
    • 84 Metascore
    • 75 Critic Score
    The result is an exhilarating narrative.
    • 84 Metascore
    • 75 Critic Score
    Beyond Milk, few of the other characters are given much to do.
    • 60 Metascore
    • 75 Critic Score
    Angela Bassett is great as his strict, single mother; The soundtrack is great, of course, and the ending features moving archival footage of the streets of Brooklyn after Wallace's murder.
    • 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."
    • 42 Metascore
    • 75 Critic Score
    The storyline was actually believable, surrounding a family willing to do anything to save one another. A horror film turned feel-good.
    • 61 Metascore
    • 75 Critic Score
    Fighting is a fun, frank and faithful homage to simple inner-city drama.
    • 56 Metascore
    • 75 Critic Score
    This is a pleasure to watch for everyone.
    • 82 Metascore
    • 75 Critic Score
    You won't be seeing any stretch Hummers, wild late night parties and 75,000 seat arena shows in this documentary, but that's what makes this so good.
    • 54 Metascore
    • 75 Critic Score
    The random and unpredictable nature makes it an extremely interesting film to watch.
    • 61 Metascore
    • 75 Critic Score
    The Soloist is based upon a true story, so it lacks some of the clichés that you might find in other made-up tales.
    • 70 Metascore
    • 75 Critic Score
    This is better than your average bio-pic. The dynamic established between the motivation of Bale’s and Depp’s characters is really what makes this film. Kudos also go out to Channing Tatum as Pretty Boy Floyd.
    • 83 Metascore
    • 75 Critic Score
    Fear not those who worried about Raimi after the last "Spiderman" debacle. There is no musical number here. The tongue is planted firmly in-cheek. The spirit of "Evil Dead" lives on.
    • 35 Metascore
    • 75 Critic Score
    It is unapologetic about delivering what it promises. Bigger battles. Massive explosions. Megan Fox looking hot.
    • 66 Metascore
    • 75 Critic Score
    A comic tour de force from Damon, who gained 30lbs and sports an unflattering moustache as the dishonest and delusional Whitacre. But it’s a performance that never loses sight of the man behind the lies.
    • 64 Metascore
    • 75 Critic Score
    This might just be a tad too grueling and bleak for everyone’s liking, but it’s a Road that’s definitely well worth traveling.
    • 57 Metascore
    • 75 Critic Score
    Hey, remember “fun”? If you’re sick of the apocalypse and tortured anti-heroes, then you need to see Sherlock Holmes. It’s a blast from start to finish.
    • 61 Metascore
    • 75 Critic Score
    With the global economic meltdown affecting just about everybody, the film is pertinent, hugely entertaining, and, above all, timely.
    • 70 Metascore
    • 75 Critic Score
    There are some very funny parts but this isn’t a typical sports comedy.
  46. The flick is driven not by special effects or outrageously gory acts of violence, but by its characters. Adrien Brody and Sarah Polley reinvent the crazy scientists playing God, turning in performances that are charming one minute, petulant the next, and ultimately, compellingly hubristic.

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