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 Thirteen
Lowest review score: 0 Pretty Persuasion
Score distribution:
1,070 movie reviews
    • 83 Metascore
    • 75 Critic Score
    A smart, brisk, but extremely thoughtful hybrid of star-vehicle and resonant depiction of right-now America.
    • 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.
    • 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.
    • 51 Metascore
    • 75 Critic Score
    It's a captivating story presented with a fresh and artistic spirit, putting a human face on the man behind the theories.
    • 66 Metascore
    • 75 Critic Score
    Irresponsible, morally murky, and batshit insane--in other words, Kick-Ass might be the most fun two hours you’ll spend in a movie theater. It delivers the darkly comic laughs (the movie is clearly not taking itself too seriously, so you should do likewise) as well as the jaw-dropping action, but Kick-Ass’s real accomplishment is bringing back the winkingly crazy Nic Cage we used to know and love.
    • 57 Metascore
    • 75 Critic Score
    Like the original, Iron Man 2 is a good time from start to finish.
  1. 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.
  2. 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.
    • 65 Metascore
    • 75 Critic Score
    If "Sarah Marshall" spawned Aldous Snow, maybe there's room for a Sergio Roma vehicle?
  3. Overall, Harry Potter and the Deathly Hallows – Part 1 is a harrowing and substantial set-up to what promises to be a climactic final chapter in one of the most popular and successful move franchises of all time.
  4. Despite its Latin flavor, there is nothing new or original about Chasing Papi's girl-power story line and ridiculously stereotypical characters. But the film's charm lies in its ability to see itself for what it is.
  5. A tart, funny, moderately over-the-top hijinks-and-snafus yarn.
  6. Its compelling cast and sincere matchmaking goals are reason enough to play along.
  7. 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.
  8. Albert Brooks is expertly cast as a hopelessly neurotic, fanny-pack-wearing podiatrist.
  9. 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.
  10. There's much visual inventiveness and a good sense of fun here. But I was expecting something more spectacular.
    • 75 Metascore
    • 63 Critic Score
    At opening night, with every seat in the cafeteria filled, you realize that the students have not only carved out a fledgling drama department in this sports-mad place, they’ve updated Grover’s Corners to Compton.
  11. It may be a crowd-pleasing escapism, but it's that feel-good shmaltz that ultimately plays the film off-key.
    • 45 Metascore
    • 63 Critic Score
    The handful of comic moments will serve up a few good laughs.
  12. The movie falls flat at the end, unnecessarily linking all of the characters in what seems to be an attempt to show how it really is a small world after all.
  13. 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.
  14. Children of all ages: Brace yourselves for a helluva ride.
  15. For such a pedestrian exercise in Spielbergian sentiment, the somewhat stale Seabiscuit dunks into some gravy moments; the always dependable William H. Macy is three honks and six rattles of comic relief as the sound effects–happy, kooky radio reporter Tick Tock McGlaughlin, and the racing scenes themselves are spectacular.
  16. Northfork feels like the work of a couple of ardent art students who, for whatever reson, are very keen on pleasing their teacher. [July/August 2003, p. 23]
    • Premiere
  17. Camp may not be great cinema, but it's passionate and original enough to be special.
  18. The film, directed by "My Cousin Vinny's" Jonathan Lynn, is a fun movie which proves to be worth a look and a listen.
  19. Riddled with ammunition for what Alfred Hitchcock called the "Plausibles"--those poor-sport moviegoers who insist on pointing out a movie's inconsistencies instead of simply enjoying the ride
  20. Hobbled by weak argumentation, a character who winds up a complete muddle, and Sayles’s inclination to romanticize Latin American revolutionary types, Casa is as mixed an effort as the filmmaker has essayed in some time. [October 2003, p. 18]
    • Premiere
  21. Touching.
  22. Nothing happens as you might expect it to, but the Pinocchio ending is definitely out.
  23. In this vibrant character study, newcomer Lázaro Ramos plays Francisco with an almost animal intensity.
  24. Manages to pull off an adequate amount of scares, when compared to most horror flicks in theaters this Halloween season.
  25. A modestly scaled film on every level, but Hedges and company manage to ring true on almost all the material's sweet and sour notes.
  26. On the plus side, there are these super-scary mechanical octopus-type things with a billion eyes and metal tentacles that fly in great awful swarms and look like the non-organic versions of the flying-brain-and-spinal-cord monsters that made the otherwise laughable '60s sci-fi flick "Fiend Without aFace" so cool.
    • 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.
  27. Depends on how you're feeling about Tom Cruise--as opposed to the character he's putatively playing.
  28. As a thriller, The Statement is relatively disappointing, but as a moral study, the movie proves far more promising.
    • 66 Metascore
    • 63 Critic Score
    Frances McDormand, as Erica’s younger sister, flourishes in her few minutes of screen time. She’s flinty, ferocious, and purely hysterical.
  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. Proves more irksome than moving.
  31. 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.
  32. It is a cute, silly romantic comedy, with little suspense and nothing particularly new to add to genre.
  33. Unfortunately, the reach of The Return exceeds its grasp, and so this film of gruffly beautiful images didn't put a hook in me the way Zvyagintsev so ardently seems to want it to. [March 2003, p. 27]
    • Premiere
  34. Offers a charming distraction from the current campaign season by sidestepping real issues and making light of the process.
  35. As a meditation of American life, Greendale is anything but coherent, but it is fluidly free-associative and shows bizarre wit, as when Young himself shows up to play Wayne Newton. [March 2004, p. 27]
    • Premiere
  36. Vince Vaughn is terrific as the baddie.
    • 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.
  37. Sexy, stylish, and legitimately suspenseful.
  38. The film's lack of focus leaves most, if not all, of the characters just a hair less developed than they should have been; the plot holes just a bit more conspicuous than they might have been; and the ending just a touch less poignant than it could have been.
    • 35 Metascore
    • 63 Critic Score
    Horror classicists may be upset at his tampering with monster mythologies, but everyone else will just be going along for the ride, and they’ll have a terrific time.
  39. Made with obvious passion and humor (and a side of fries), Super Size Me is a mostly entertaining look at fast food, the billion-dollar businesses behind it, and its warped effect on our culture.
  40. Stylistically, Carandiru is definitely less monochromatic than an "Oz" rerun.
  41. The real top billing, what audience-goers are obviously shelling out to see, is the computer-generated chaos, and as they should: Digital technology has caught up with our collective imaginations Now More Than Ever.
  42. 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.
  43. 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.
  44. If there was ever an example of a movie's visual language leaving its verbal and narrative components in the dust, this, unfortunately, is it.
  45. 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.
  46. Subtly gaining momentum as it dexterously glides through pages of good-time, snappy dialogue, Criminal offers no time to catch your breath, let alone enough to think through its reality-stretching story flaws and subtext-lacking motives.
  47. DiG! never delves deep enough to act as a true cautionary tale. It's an amusingly drunken PBS-worthy human-interest doc, unless you're too old or not cool enough to have played in the embarrassing hipster zoo, in which case DiG! may be the closest you'll ever get to the uncaged animals.
  48. Wisely unbiased-but also unfocused, uneducated, and underachieving-which makes for an occasionally hilarious, frequently anemic parody that misses its opportunity to permanently document a scathing critique of current events.
  49. Law owns every scene he’s in--which is literally all of them--plus a decent supporting cast and dapper dialogue truly make for a breezy good time.
  50. The Hanks overload feels like The Polar Express is "Being John Malkovich" transmuted into a computer-generated 21st-century children's Christmas film.
  51. 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.
  52. 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.
  53. It's basically just another watered-down version of Dead Poets Society and countless other inspirational-teacher films, but its emotional impact is undeniable.
  54. It’s tightly paced and confidently styled. These times call for more daring in our horror films, but for this weekend, this will do the trick.
  55. While brisk, informative, and entertaining, feels frustratingly sketchy.
  56. 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.
  57. 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.
  58. An enjoyable mess that aimlessly goofs like "Men in Black" when its script calls for "Black Adder."
  59. 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.
  60. 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.
  61. Not bad for summer jollies, au contraire, but -- "Holy Raised Bar, Batman!" -- let's pray that the next installment measures up to the sequel summits of "Spider-Man 2" and "X2."
  62. As endearing as Ferrell and Kidman are on their own, there's just no chemistry between them onscreen.
  63. 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.
  64. Aesthetically wild and otherwise mild.
    • 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.
  65. Scarlett Johansson looks lovely and hasn't much to do besides that, McGregor only starts having fun when he's playing the "original" of his clone.
  66. Sure, it's a pleasure to watch Thornton stretch his legs in Matthau's role, but I miss Tatum O'Neal as his firebrand daughter.
  67. 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.
  68. As a superhero movie, it's something of an underachiever, missing out on easy opportunities to push the idea to the next level.
  69. 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.
    • 45 Metascore
    • 63 Critic Score
    Adults expecting a little bit more, "Chicken Run," this ain't.
  70. Belongs to the same class of cotton-candy romances as "Chances Are" and "Somewhere in Time," although it steers its light-hearted subject into darker territory with the life support subplot.
    • 55 Metascore
    • 63 Critic Score
    To be fair, Ouimet's story is pretty magical, one of the great sports underdog tales.
  71. Let's be honest: Whether it's Jessica Alba or Paul Walker you're dying to see stripped down to her/his sexiest swimwear, there's only one reason anyone is interested in diving Into the Blue.
  72. Over the years, Pacino's Method has become his madness, and now, whether he's playing Shylock or Satan, he doesn't become the part so much as the part becomes him.
    • 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.
    • 47 Metascore
    • 63 Critic Score
    The family dynamic, paired with a few delicious action scenes, is engaging enough that we hardly notice the fillm's major flaw, a rather flimsy and sometimes jingoistic subplot having to do with California's independence.
    • 67 Metascore
    • 63 Critic Score
    There's nary a smidgen of adult humor, so parents might find things a bit on the dull side at times, but in the end they will likely thank Favreau in droves for making a film that is at least certain not to give them a headache.
  73. 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.
  74. 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.
  75. Ultimately, it is a serviceable, well-made thriller that earns its R rating.
  76. Joyeux Noel is no gritty war film; this is more of a Christmas miracle movie, full of melodrama. Carion juggles a large, multicultural cast, and few of the characters stand out; most are there to represent the types who pop up in your standard war-movie battalions.
  77. Though this new Hills is both scarier and smarter than 95 percent of the other horror product out there, it's also indicative of everything that's wrong with horror movies today.
  78. 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.
  79. The sweet, furry animals are witty and often funny, and while the physical comedy is simple, the main characters ultimately aren't.
  80. Looks, feels, and tastes like a more accessible evolution of "Cremaster," so try to gauge your own tolerance for indulgent eccentricity (at 135 minutes, it could stand to lose 20).
  81. For all its intelligence, Free Zone has disappointingly little to say.

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