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 Three Burials of Melquiades Estrada
Lowest review score: 0 Good Luck Chuck
Score distribution:
1,070 movie reviews
  1. Ultimately all of the ado about men in shades and dark suits running around shooting and shouting at each other comes to a satisfying, if predictable, conclusion.
  2. Jarecki seems all too eager to buy into Toback's depiction of himself as the ultimate Hollywood outsider. Try telling that to the independent filmmakers who aren't on a first-name basis with Warren Beatty.
  3. One of Cruise's most deeply cherished ambitions is to be a great actor, and this movie goes to great lengths to let him do that--sort of. You'll understand what I mean during the sequence in which there is more than one Philip Seymour Hoffman on the screen.
  4. Comic-book enthusiasts can breathe a sigh of relief: Brett Ratner hasn't completely ruined the X-Men series a.k.a. "The Franchise that Bryan Singer Built."
  5. Compelling and exasperating in pretty much equal doses.
  6. 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.
  7. 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.
    • 46 Metascore
    • 63 Critic Score
    Like Dupree himself, the film wears out its welcome a little, but is still entertaining.
  8. Diverting and often funny enough, largely thanks (as is not unusual in cases like this) to its cast.
  9. Just when the plot should start coming together, the pacing goes slack and the narrative gets bogged down in routine cop-movie clichés.
    • 41 Metascore
    • 63 Critic Score
    Although mixing teen humor with sentiment will never be done as well as in "American Pie," John Tucker Must Die has just enough heart to entertain the "MySpace" set.
  10. 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.
  11. 13 Tzameti is certainly nightmarish, but it's the kind of nightmare that fades instead of lingering on in the memory.
    • 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.
  12. 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.
  13. 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.
  14. Winds up being rather fun. It's not great, but it's certainly not the worst monster movie that I've sat through -- that might be 2003's "Darkness Falls."
  15. Ultimately a valentine to the unsung heroes of the US Coast Guard and it's probably long overdue.
  16. For my money, if I'm in the mood for the kind of aesthetic and emotional experience Saints is selling, I'll just blast Jim Carroll's more concise (and rocking!) "People Who Died" out of my iPod.
  17. Understanding what McGrath is trying to pull off is not the same thing as McGrath pulling it off; as ambitious as it is, Infamous falters in execution too often to create a lasting impression.
  18. One casting wild card is the country singer Tim McGraw, and he's very solid in the role of Katie's horse-rancher dad, the kind of guy whose hard-headedness can't mask the size of his heart.
  19. 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.
  20. 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.
  21. 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.
  22. After a slow start, this feel-good family film is a nice postcard from the Big Apple that may benefit New York and the Museum of Natural History as much as it does 20th Century Fox.
  23. If the resultant wreckage is a little underwhelming, and the film's coda useless and trite, the getting there is pretty absorbing.
    • 39 Metascore
    • 63 Critic Score
    Ultimately, Besson has made an interesting, if shaky in places, homage to childhood.
  24. 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.
  25. The depiction of everyday life at the orphanage is far more compelling than Vanya's personal quest. It's unfortunate that once the Italian hits the road, The Italian loses its way.
    • 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.
  26. 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.
  27. It does move along at a nice clip, and delivers exactly what belligerent action fans on both sides of the political aisle want -- a wholly admirable figure blowing up a lot of bad s---.
  28. Best appreciated as a rather amusing farce called The John Malkovich Show, the movie's every scene is anchored, then stolen, by the commanding thespian's Alan act.
  29. 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.
  30. 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.
  31. 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.
  32. Its punchline, imagining the worst that could happen to Auteuil's slimy exec, is weak and kind of dumb, but the rest of the film is genial, appealing, and brisk.
  33. Lawrence too often errs on the side of embellishing details that didn't need to be expanded upon.
  34. This incarnation of Spider Man seems to forget that its source material was a comic book that wanted to transcend its genre. This is a movie that's content to be pretty good within its genre, with the main distinction of being much bigger than any of its competition.
  35. A charming midlife crisis of a movie that bottles the "La Femme Nikita" director's typically high-concept inclinations in a modest indie package.
  36. It's a decent comic-book movie that delivers its goods with good humor and a minimum of bloat.
  37. While 1408 is no classic, it is refreshing to see a horror picture that just wants to do its job rather than prove to its audience how ruthlessly nihilistic it is.
  38. 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.
  39. An unexpectedly retro throwback to '80s actioners and '90s hacker movies, totally preposterous in both its heroic near-death escapes and abstract tech-jargon explanations for how anyone with geeky inclinations can remotely override any computer system with a few easy keystrokes.
  40. Time is more than reasonably diverting.
  41. This picture reminded me of one of the things I like best about "All the President’s Men": It doesn’t give a good godd--- about Woodward and Bernstein’s personal lives.
    • 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.
  42. The dumbness doesn't kill Death at a Funeral, but it certainly weakens it.
  43. It's an overall heady conceit about image and invention, clever and fun with compelling lead performances -- especially Reynolds, who finally gets to show some chops in a career littered with Van Wilder–grade junk.
  44. It might have been better to have played it straight — small instead of epic, chronological instead of deconstructed — and to give his characters some explicitness in history instead of the bedroom.
    • 53 Metascore
    • 63 Critic Score
    It's all pulled off with a firm sense of the fun in being scared.
  45. It's been well-publicized that Affleck, going for as authentic a feel as possible, cast many genuine South Bostoners in both extra and speaking roles, and, while that's salutary, in some scenes his strategy backfires, yielding caricatures that are merely more vivid than the ones turned out by Central Casting Hollywood productions.
  46. It's a fascinating portrait, but it's also choppy and rushed and lopsided.
  47. 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.
  48. The new perspective Scott and Zaillian want to bring to this material never gels convincingly, and despite some effective set pieces, a cast of memorable faces and attitudes, and evocative cinematography by Harris Savides, this would-be epic feels tired and rote.
    • 58 Metascore
    • 63 Critic Score
    This one aims for bleak and hits it.
  49. Starting Out never builds to the explosive climax it seems to be heading for, which I suppose is a good thing for its overall integrity, but maybe not so good for its motion-picture value.
    • 39 Metascore
    • 63 Critic Score
    At times funny, and even occasionally witty, Alvin and the Chipmunks is a lively, entertaining romp that will certainly bring smiles to the young ones this holiday season.
  50. As a fan and well-wisher of Coppola's, I wanted very much to like this movie, and I'll probably give it another shot once the DVD comes out. But, at first sight, Youth Without Youth's striving for exuberance reveals an almost desperate effort too much of the time.
  51. While The Great Debaters' intentions don't lead it to movie hell, this picture is far more diffuse, commonplace, and predictable than the surprisingly convincing "Fisher."
  52. 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.
    • 63 Metascore
    • 63 Critic Score
    So you'll laugh, you'll groan, you'll leave the theater singing "I'm gonna beat off….all my demons/That's what lovin' Jesus is all about" -- and isn't that, ultimately, a good thing? Yes.
  53. CJ7
    The overall feel is Hong Kong to the core…which means CJ7, like the first 25 minutes or so of "Shaolin Soccer," doesn't make many allowances to Western sensibilities.
    • 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.
  54. 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.
    • 40 Metascore
    • 63 Critic Score
    When Vantage Point is staying with Quaid and Fox as they hunt the suspected assassins (including the arrestingly beautiful Israeli actress Ayelet Zurer) it's a perfectly serviceable thriller with high production values and some better-than-average car chases.
  55. The courtroom scenes are the animated ones…and said animation looks rather cruder than your average PS3 game.
    • 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.
    • 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.
  56. 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.
    • 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.
  57. All this is frustrating, as the picture contains a few grace notes that remind one what an acute filmmaker Wong can be.
    • 55 Metascore
    • 63 Critic Score
    If you’re looking for some big, stupid fun, you could do worse than Street Kings.
  58. Yeah, it's pretty funny. And it's a pretty accurate depiction of a certain feature of male romantic humiliation. But it's also a little -- and this is one of my two misgivings about the movie -- expected.
    • 45 Metascore
    • 63 Critic Score
    Whatever planet these dance sequences are happening on, their cuckoo surrealism is the movie's saving grace.
  59. 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.
    • 62 Metascore
    • 63 Critic Score
    There's a persistent surface level, one-off quality to the whole business that repels emotional involvement at every juncture and seems stylistically in keeping with Disney's reluctance to greenlight each new Narnia film until the last one has proven itself at the box-office.
    • 78 Metascore
    • 63 Critic Score
    It's in the script, however, that del Toro the writer falls a wee bit short of del Toro the visionary.
    • 64 Metascore
    • 63 Critic Score
    Never achieves greatness, but it has the right people in place to suggest the greatness that might have been.
    • 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?
    • 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.
    • 57 Metascore
    • 63 Critic Score
    Scott doesn't bring much to the table as an action director, and his keen storytelling abilities go invisible here.
    • 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.
    • 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.
    • 69 Metascore
    • 63 Critic Score
    Revolutionary Road isn't emotionally engaging or moving; it's awfully similar in theme to Winslet's 2006 movie "Little Children."
    • 33 Metascore
    • 63 Critic Score
    Russell Brand is absurd, funny and wonderfully out of place in a family movie.
    • 53 Metascore
    • 63 Critic Score
    Owen Wilson manages to break his customary comic relief persona and is adept at playing a little "Father Knows Best"; the yellow lab does a good job too.
    • 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.
    • 51 Metascore
    • 63 Critic Score
    This is a fun midnight movie. Horror fans, get your friends together and go see some gore and some naked chicks in three dimensions.
    • 38 Metascore
    • 63 Critic Score
    As unrealistic as the talking mannequins, but we’re pleasantly surprised by how good this movie makes us feel.
    • 31 Metascore
    • 63 Critic Score
    It’s surprisingly funny for another weak "American Pie" rip-off; Nicholas D'Agosto and Eric Christian Olsen make a hilarious pair; If you're under the age of 25 you’ll like it.
    • 69 Metascore
    • 63 Critic Score
    Even the great cast didn’t make following the convoluted plot any easier. And all that jumping around makes the film feel a lot longer than it is.
    • 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.
    • 61 Metascore
    • 63 Critic Score
    This is definitely one to make you feel good all over.
    • 55 Metascore
    • 63 Critic Score
    Weisz infuses comic complexity into the ensemble, which is at times genuinely funny.
    • 74 Metascore
    • 63 Critic Score
    The dynamic between Leonard and his lovers is uncomfortable and not in the good way like Ricky Gervais's dancing.
    • 45 Metascore
    • 63 Critic Score
    It sticks to what the series does best, mixing souped-up cars with corny jokes.
    • 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.
  60. This movie’s sole purpose is to make teenage boys high-five each other, and it’s faithfulness to that concept makes the cartoon carnage almost endearing.
    • 48 Metascore
    • 63 Critic Score
    In the scenes where Efron isn't on screen, things tend to get boring. Plus, we could've lived without having watched so many scenes where Zac is showing off his basketball skills.

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