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 The Sisterhood of the Traveling Pants
Lowest review score: 0 Boogeyman
Score distribution:
1,070 movie reviews
  1. Stardust is an eye-poppingly elaborate fantasy that's shot through with action-movie adrenaline and attitude.
    • 35 Metascore
    • 75 Critic Score
    Stick it out through the first ten incoherent minutes or so, and Stealth is an invigorating reward, especially the tense final half-hour.
    • 63 Metascore
    • 75 Critic Score
    It's at times implausible and heavy-handed, but thrillers need villains and it's not like the Ba'ath Party had an exclusive license on 'em.
  2. This is Gere’s movie, and Sarandon and Lopez graciously let him dance away with it.
  3. Soderberg provides a cornucopia of fizzy, post–New Wave imagery, fitting for a picture that’s pretty much all about surfaces.
    • 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."
  4. Features some of the best fight and chase footage you'll see all summer.
  5. Through a haze of opium smoke and Molotov cocktails igniting, Regular Lovers plays out like the heavier politicized and unsentimentalized counterpoint to Bernardo Bertolucci's "The Dreamers."
  6. Deeply nuts and exhaustingly hilarious.
    • 57 Metascore
    • 75 Critic Score
    One of the pleasures of the film is that the themes don't hit you over the head.
  7. Green, the first feature Coupland's written, doesn't really make any innovations to the Almost 30-Underachievers genre, but it's an endearing, solidly-crafted example.
  8. De Niro is constantly upstaged by the showstopping, sunburnt duo of Streisand and Hoffman, but even their material is so recycled (more Focker puns, etc.) that it doesn’t matter who steals the most chuckles.
    • 70 Metascore
    • 63 Critic Score
    Girard gives feisty life to the battle-weary professor, but Rousseau just follows the drill--he is glass-eyed to the point of distraction. And for all its intellectual maneuvering, the film never regains the simple power of its opening salvo.
  9. The ending of Teacher's Pet, like the rest of the film, feels a bit rushed. Then again, the movie is geared toward a population with small attention spans and smaller bladders.
    • 64 Metascore
    • 63 Critic Score
    It’s an uneven outing from the Frat Pack, and an equally sad commentary on the state of American comedy: This run-on mess is the funniest film of the last six months.
  10. While basketball fans might have trouble recognizing the sport as it's played here, the games certainly aren't dull. Unfortunately, most of the off-court sequences are.
  11. Depends on how you're feeling about Tom Cruise--as opposed to the character he's putatively playing.
  12. Nothing happens as you might expect it to, but the Pinocchio ending is definitely out.
  13. As endearing as Ferrell and Kidman are on their own, there's just no chemistry between them onscreen.
    • 45 Metascore
    • 63 Critic Score
    Whatever planet these dance sequences are happening on, their cuckoo surrealism is the movie's saving grace.
    • 56 Metascore
    • 63 Critic Score
    If the raison d'être of Leatherheads was not to add something to the football movie canon but to have Clooney and Zellweger engage in a screwball banter-fest, then there's no excusing the paltry number of zinger missiles fired over the course of the film.
  14. Though director Irwin Winkler takes pains to accurately present Cole's life (unlike "Night and Day," the 1946 biopic starring Cary Grant), the film has its shortcomings. First of which is pushing the love story, when it's clear Linda's feelings aren't reciprocated.
  15. There's too much going on to take it all in. It's a shame, really. Robots boasts some of the most vibrant visual design ever captured on screen.
  16. An enjoyable mess that aimlessly goofs like "Men in Black" when its script calls for "Black Adder."
  17. The Aristocrats lies halfway between two potentially great films: it's neither a smartly austere succession of jokesmiths with all the critique left to the audience, nor a deconstructionist essay on "crossing the line" and the language of comedy itself.
    • 56 Metascore
    • 63 Critic Score
    Marketed as a combination of a popcorn-munching actioner, but that's somewhat misleading -- it's also a well-researched historical thriller. Unfortunately, it ends up not succeeding as either.
  18. Strikes me as more of a thesis piece than anything LaBute has put his name to thus far. Its characters don't seem to be people as much as they are stand-ins for ideas.
  19. Has masterfully polished mechanics, some of the most seamless CGI effects in recent memory, and the Wells veneration is admirable. However, the film takes far too many creative shortcuts, like bookended narration and aliens that make strategically humanlike mistakes, completely incongruous to their technological superiority.
  20. It may be a crowd-pleasing escapism, but it's that feel-good shmaltz that ultimately plays the film off-key.
  21. If The Prestige is something of a let down as a magic trick, it's more successful as a tale of obsession. The rivalry between the magicians is brutal and bloody and Bale and Jackman do their best work when they're plotting each other's downfall.
    • 36 Metascore
    • 63 Critic Score
    War
    War is like Statham's other actioners "The Transporter" and "Crash" -- fun, but not big or dumb enough to be glorious.
    • 62 Metascore
    • 63 Critic Score
    Perhaps Highmore could have tried a little harder to make us doubt for a moment that, once again, Good will inevitably overcome Evil.
    • 63 Metascore
    • 63 Critic Score
    Like any coming-of-age story, there's enough drama, comedy, and, of course, romance to be entertaining. But moreover, Sisterhood furthers an honest dialogue among young women.
  22. Fans will cheer at Schumacher's faithful inflation of Webber's vision, which interprets all that pomp and bombast as if the show were some sort of overblown Vegas attraction.
  23. The courtroom scenes are the animated ones…and said animation looks rather cruder than your average PS3 game.
  24. All this is frustrating, as the picture contains a few grace notes that remind one what an acute filmmaker Wong can be.
  25. It's basically just another watered-down version of Dead Poets Society and countless other inspirational-teacher films, but its emotional impact is undeniable.
  26. Where the film falters is in Alejandro Agresti's overly deliberate direction, which threatens to drown the drama in amber sunsets and self-conscious camera framings. The film looks great, but it lacks spontaneity, an important element of the most memorable screen romances.
  27. Vacancy could have been some sort of satirical masterpiece had this whole scenario been finally revealed as an extreme form of couple's therapy designed to get Beckinsale and Wilson back together.
    • 55 Metascore
    • 63 Critic Score
    If you’re looking for some big, stupid fun, you could do worse than Street Kings.
  28. Although Scott seems to be making a point about both parties' ongoing feud for Jerusalem , the movie seems more like a classic Western than a contemporary political allegory.
  29. It may not be saying much, but what keeps this movie afloat, aside from solid performances, is the nearly sophisticated dynamic of an otherwise redundant punchline.
  30. The film stubbornly refuses to fill empty space with dialogue or adhere to any structure other than its own downbeat atmosphere, forcing viewers to be intensely patient or squirm. It's the best film I’ve seen in a while that I wouldn't recommend to anyone.
  31. It's a fascinating portrait, but it's also choppy and rushed and lopsided.
  32. You've got to give the guy (De Palma) some credit. He's made a bizarre, baffling and at times flat-out bad movie. But at least it's rarely boring.
  33. Though Flushed Away certainly aims to please viewers of all ages, it’s the anglophiles of all ages who are going to get the most out of the film.
  34. Chris Rock's I Think I Love My Wife is less interesting, and less successful, as a remake of a much-bruited '70s art film than it is as a compendium of Rockian observations on the current state of the African-American bourgeoisie.
  35. Singleton’s film is, in fact, pretty enjoyable if you look at it as the B-movie it really ought to be, rather than the E-ticket major studio release it actually is.
  36. The Orphanage's joys come from the experiential: Bayona's cultured technical skills, including some phenomenal sound design, and sustained anxiety. It's about as healthy as junk food gets.
  37. One of those novelistic independent films more concerned with atmosphere and character than the particularities of narrative, where contemplating the backstory is more satisfying than anything we see.
    • 75 Metascore
    • 63 Critic Score
    Raises some probing questions about the secrecy of ratings decisions in a way that entertains and educates audiences with or without agendas to protect film integrity.
  38. Dullaghan's film is a bit too straightforward and introductory to be declared a definitive portraiture. The gold nuggets worth sifting for lie in the anecdotal minutiae.
    • 48 Metascore
    • 63 Critic Score
    One suspects the truth will only be revealed if or when Phoenix starts acting again. Certainly on this evidence, he's no great shakes at hip-hop.
    • 45 Metascore
    • 63 Critic Score
    It sticks to what the series does best, mixing souped-up cars with corny jokes.
  39. At its best though, the film offers a pointed critique of a youth culture that views someone like Jesse James Hollywood as a person to emulate.
  40. Albert Brooks is expertly cast as a hopelessly neurotic, fanny-pack-wearing podiatrist.
  41. Van Sant has mastered this kind of driftingly contemplative imagery and his layered soundscapes would make Sonic Youth proud (of course, Kim Gordon makes an appearance), but the introduction of other characters fracture the film's greatest asset, its lonely first-person atmosphere.
  42. Lawrence too often errs on the side of embellishing details that didn't need to be expanded upon.
    • 50 Metascore
    • 63 Critic Score
    Two-hours of trashy eye-candy that, while fast and loose with the truth, functions as a perfectly adequate divertissement in a time of year when studios tend to unleash their worst.
    • 64 Metascore
    • 63 Critic Score
    Never achieves greatness, but it has the right people in place to suggest the greatness that might have been.
  43. In this vibrant character study, newcomer Lázaro Ramos plays Francisco with an almost animal intensity.
  44. Diverting and often funny enough, largely thanks (as is not unusual in cases like this) to its cast.
  45. The intellectual aspirations of this series are just window dressing. Which left this viewer to enjoy the freeway chase sequence (which really is cool), Hugo Weaving’s smirk, and even the PlayStationish stuff.
  46. Before it descends into dull sadism and general incoherence in its third act, Turistas is a mostly effective exploitation picture, the kind of movie that would have been proudly displayed on the marquee of a '70s-era grindhouse.
  47. Considering how much new additions Rosario Dawson (as Mimi) and Tracie Thoms (as Joanne) bring to the film, it's a shame Columbus didn't introduce more changes.
  48. Part of what makes these kind of war movies such cinematic comfort food (aside from the moral certainty they strive to convey) is their familiarity. But I wonder if said familiarity is what compels contemporary filmmakers to overstuff the material -- Flyboys is a good two hours and 20 minutes.
    • 45 Metascore
    • 63 Critic Score
    If you enjoy a cop drama, regardless how packed with trite and worn plot points, Pride and Glory should do the trick.
    • 57 Metascore
    • 63 Critic Score
    A slick, bloody, fast-paced, and ultimately enjoyable B-movie.
  49. It's the stuff of countless advice columns, daytime talk shows, sitcoms, romantic comedies. Quite frankly, it's tired. What makes a difference here -- although really not enough of one -- is the people.
    • 51 Metascore
    • 63 Critic Score
    Before plunking down your cash for a ride on the Mamma Mia! express when it pulls into town, just ask yourself one question: Do I really dig ABBA?
  50. The sweet, furry animals are witty and often funny, and while the physical comedy is simple, the main characters ultimately aren't.
    • 47 Metascore
    • 63 Critic Score
    If you are a big fan of country music, you will enjoy it for the Taylor Swift, Rascal Flatts, Billy Ray Cyrus and of course, Miley Cyrus performances.
    • 45 Metascore
    • 63 Critic Score
    Adults expecting a little bit more, "Chicken Run," this ain't.
    • 39 Metascore
    • 63 Critic Score
    Ultimately, Besson has made an interesting, if shaky in places, homage to childhood.
  51. Vince Vaughn is terrific as the baddie.
  52. It hardly adds up to much, but it doesn't mean to, and it'll leave you with a cleaner conscience than an Austin Powers picture.
  53. Gilbert films Chong as if he's a political prisoner like Nelson Mandela, when he's really just an older comic going to jail over a bad business decision.
  54. The dumbness doesn't kill Death at a Funeral, but it certainly weakens it.
    • 53 Metascore
    • 63 Critic Score
    It's all pulled off with a firm sense of the fun in being scared.
  55. Gondry might have been better off keeping his movie on theoretical/slapstick grounds, because, quite frankly, his attempts at sincerity just don't make it.
  56. As Jolie's closest professional confidant, Liev Schreiber is his usual excellent, formidable self.
  57. Stylistically, Carandiru is definitely less monochromatic than an "Oz" rerun.
  58. Those who still relish the sight of Anthony Hopkins portraying an evil criminal mastermind will get the most out of Fracture, which is not so much a whodunit -- we see Hopkins' character putting a bullet in his wife's head in the movie's first few minutes -- as a howdunnit.
  59. Children of all ages: Brace yourselves for a helluva ride.
  60. For all its intelligence, Free Zone has disappointingly little to say.
  61. Martin Short is so odd that apparently, neither he nor the film industry know what to do about it. In a way, Jiminy Glick in La La Wood is both a fictional riff on this very fact and hard proof of it.
  62. Underscored by the fragility of a plinking piano and well-timed flourishes to uplift, this heroic heartstring-tugger is still frequently and unexpectedly affecting, so much that it's able to hide its true face as a glorified movie-of-the-week.
    • 35 Metascore
    • 63 Critic Score
    The story's beginning is in a rush to get to the the killings, which get more and more disgusting.
  63. We Own the Night can't sustain itself; as the stakes of the story get higher, Gray paints it in broader and broader strokes until there's almost nothing you can believe in it anymore.
  64. The film, directed by "My Cousin Vinny's" Jonathan Lynn, is a fun movie which proves to be worth a look and a listen.
    • 48 Metascore
    • 63 Critic Score
    There are so many facts presented that many of them feel forced and trivial. We were also a little disappointed with the twist ending.
    • 41 Metascore
    • 63 Critic Score
    Presents nothing blindingly new for fans of Apatow- or Sandler-style humor and when watching it, one can hear the faint rustling of old scripts being yanked from drawers for a timely cash-in, but with his high-school memories now hopefully exhausted, maybe Rogen has a good college yarn to spin.
    • 54 Metascore
    • 63 Critic Score
    Mortensen proves once again that he’s an able, even intuitive performer, more compelling speaking Lakota Sioux than many others in plain English.
    • 55 Metascore
    • 63 Critic Score
    To be fair, Ouimet's story is pretty magical, one of the great sports underdog tales.
  65. Ultimately a valentine to the unsung heroes of the US Coast Guard and it's probably long overdue.
    • 45 Metascore
    • 63 Critic Score
    Beyond the tunes, however, Elizabethtown falls short of actual emotional resonance, and is really nothing more than a passable "Garden State" doppelgänger.
  66. Accomplished and well-intentioned to the extent that one wants to accentuate the positive, but the positive isn't the whole, alas; for every moment in the film that evokes classic neo-realism, there's another that's commonplace or overly sentimental.
  67. The Hanks overload feels like The Polar Express is "Being John Malkovich" transmuted into a computer-generated 21st-century children's Christmas film.
  68. All this stuff is enacted by a better-than-reliable cast (Griffin Dunne, Robert Downey Jr., Catherine O'Hara, Roger Rees, and more), so Game 6 is never a bore. But it's not much more besides never a bore.
    • 53 Metascore
    • 63 Critic Score
    While the journey is somewhat bumpy and awfully contrived at times, the characters making the trek are ones we don't mind being cooped with for long stretches of highway.

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