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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Ground Truth
Lowest review score: 0 Gigli
Score distribution:
1,070 movie reviews
    • 60 Metascore
    • 63 Critic Score
    The drama aspect is necessary to the story, but it just drags on too long.
    • 57 Metascore
    • 63 Critic Score
    A slick, bloody, fast-paced, and ultimately enjoyable B-movie.
    • 55 Metascore
    • 63 Critic Score
    Apart from feeling misled by the trailers, it's a decent, middle-of-the-road adult thriller that competently goes through the paces.
  1. Isn’t like a lot of modern horror movies. It’s not about torture, or dead children, or weepy vampires with great hair. It’s an attempt to reinvent the monster movie, which we're all about. It’s too bad it couldn’t have been contemporized. Period movies can so easily become parodies of portentousness, and that’s what happens with this one.
    • 73 Metascore
    • 63 Critic Score
    A lightweight but sincere coming-of-age story.
  2. As Jolie's closest professional confidant, Liev Schreiber is his usual excellent, formidable self.
  3. Scott Pilgrim Vs. The World, most intriguingly, nails what makes video games so much fun.
    • 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.
    • 72 Metascore
    • 63 Critic Score
    It does deserve points for casting and some clever humor, but falls short of the classic high school movie canon.
  4. Are these iconic, antihero relics smartly satirized in a post-slasher, or is FVJ just more dated, third-wave trash? Disappointingly, it's the latter.
  5. The tension's palpable and the deaths are gruesomely inventive (and jarringly abrupt), but the clincher is so far-fetched you may end up wishing you'd opted for the relative reality of a week in Cancun instead.
  6. Viewers should hope Jeepers 2 is the final act in this series. The once-promising Creeper, who we see up close this time, has emerged as a garden-variety killer.
  7. The dubious whimsy, devoid of any directorial voice, plays more like a very special episode of Dawson’s Creek.
  8. A moderate success, if a bit clunky. Somewhere beneath the syrupy melodrama and the scenes that should have expired long ago, there is an intelligent, thoughtful western in waiting.
  9. Better than I expected but still not entirely convincing. As a cautionary tale for demimonde-sters, though, it has its useful points--never argue about money while you're in a K-hole, that sort of thing.
  10. The idea for the film is engaging and interesting, but the result is bland.
  11. Moves easily between manic humor and soft, touching moments that get to the heart of what it means to be a parent.
  12. Overburdened with themes and symbolism, Baltasar Kormákur’s latest effort seems more apt for a term paper than a movie review.
    • 51 Metascore
    • 50 Critic Score
    Since the story really is about nothing more than who ends up with which bag of money, those eccentric details--that cow, the butchers' language--don't feel organic, but rather cosmetic. They're glamour to conceal the mundane.
  13. Had the picture maintained a sense of lightheartedness, it may have better lived up to its genre. But, as is, Alex & Emma is flat, neither whimsically romantic nor consistently comedic.
  14. The period sets and costumes and the arch dialogue are exaggerated as if to underline the movie’s satirical intent—but in fact it has none.
  15. Television-loving children will scream for Rugrats Go Wild!, and in this case, their parents can go ahead and let them—they won't be missing much.
  16. The movie is a mess, but Harnett and Ford are likable enough to make Hollywood Homicide a unique addition to the cookie-cutter spectacles that usually grace theaters during the summer months.
  17. There are popcorn pictures and there are microwave popcorn pictures. The Italian Job is best saved for the living room.
  18. If only the love story were a little more convincing, she might have saved the world and the movie.
  19. Favorably, Atkinson’s family-friendly, rubber-limbed professionalism can revitalize even the most vapid of material, which this certainly is. Anyone who has seen an episode of Black Adder can tell you that he’s leaps and bounds funnier than this sitcom-grade bauble.
  20. The entire film is a thrown-together collection of gunfights and in-jokes. The film is more concerned with expanding this universe of seedy tequila bars and dusty city streets than it is in telling a narrative story.
  21. Might have been a tasty black comedy if treated as such, but the twisted sense of humor is never allowed to elevate beyond the cutesy sensibilities of a romantic comedy.
  22. An uneven love story but a picture-perfect love letter to Italy.
    • 61 Metascore
    • 50 Critic Score
    Irritatingly, Fleder's flair for broadcasting plot twists treats the audience with the same patronizing indulgence as Hackman does his potential jurors.
  23. When it's all over and it's apparent that entire sections of the film are irrelevant and the paper-thin love story leaves you unsatisfied, hold your tongue, and try to remember that this film is v-e-r-y important.
  24. There's a lot to be said for a movie that isn't after instant fame, but only wants to make audiences feel good.
  25. There were times watching this movie when I felt I was being force-fed 30 pounds of crème brûlée. Which isn’t to say I choked on every minute: I chortled heartily at the thread about the comeback of the washed-up rock star (Bill Nighy).
  26. Too-laborious meditation on life and death.
  27. Gothika deserves credit for embracing the ghost story genre so whole-heartedly, but as any ten-year-old girl can tell you, there's nothing original here to see.
  28. Everyone involved figured that sentiment trumps sloppiness. Original Soundtrack
  29. Ramshackle one minute, pointlessly deliberate the next.
  30. The beauty of You Got Served is that it delivers the moves from every vantage point.
  31. The sequel to 2003's unexpected and rousing hit offers a lot of the same elements that made the original so enjoyable, but the humor doesn't have the same freshness.
  32. While this Kid isn't up to "Spy Kids" standards, the good news is the film hews closer to the high-concept kids' movies of the 1980s than to all that Disney Channel goo that's been repackaged for the big screen lately.
  33. Secret Window's premise is certainly new, even if King appears to be plagiarizing themes from himself.
  34. Jersey Girl may have come from his soul, but it contradicts the charm of a Kevin Smith movie.
  35. I wonder if there was a point in the making of this film at which Hickenlooper might have realized he picked the wrong subject. [May 2004, p. 18]
    • Premiere
  36. Feels more practical than whimsical, more politically correct than sweep-you-off-your-feet romantic.
  37. Ella Enchanted seems squarely aimed at 12-year-old girls, or, I don't know, maybe 8-year-old girls.
  38. It's really rather dull, lacking in any originality or flair that might draw attention to the cause. It's lightly comedic, lightly dramatic, lightly tragic, and, therefore, lightly entertaining.
    • 33 Metascore
    • 50 Critic Score
    Snoop's subtle performance in the captain's chair flips all the right switches, and Ryan Pinkston's timing as Arnold's "straight out of Malibu" son is perfect, but these two aren't enough to salvage the film.
  39. With his latest, the sci-fi–action–adventure The Chronicles of Riddick, Vin Diesel has established himself as the new face of morally ambiguous anti-heroes.
  40. Wants to be at any given moment--wrenching, thought-provoking, surprising, heartbreaking--all it ever is is tastefully lifeless. It’s been beaten into a coma by its own scruples.
  41. I'd gladly take the legend over this dreary pseudo-historical mumbo jumbo.
  42. If you subtracted from the story and style components recycled from landmark sci-fi films of Hollywood past, you’d be left with Will Smith wisecracking over a box of unformatted floppies. I, Unimpressed.
  43. What’s missing here is the amnesiac hook that made "The Bourne Identity" such a sleeper hit.
  44. When the secret is finally divulged, it’s such a letdown that it feels unfairly manipulative to have sat through such agonizing tedium.
  45. I don’t quite cherish Thackeray’s novel, but a can-do feminist, multicultural contemporization of it strikes me as, well, unnecessary.
  46. If you were hoping to find another "Nemo," you're likely to be let down by this insincere and borderline unpleasant alternative.
    • 64 Metascore
    • 50 Critic Score
    The result is more bawdy diversion than historical fable.
  47. American audiences have seen Ju-On. And The Grudge just goes to show why remaking it is such a frivolous idea: What's the use in wasting so much energy if the filmmakers aren't going to fix what was wrong with the movie in the first place?
  48. Saw
    Spoiled by its own insatiable desire for envelope-pushing flair; it’s wider-scoped when it should be intimate, splashy instead of subtle, icky but not scary.
  49. One of those outrageous stalker thrillers in which so much trouble could have been avoided if the characters had only thought to call the police.
    • 44 Metascore
    • 50 Critic Score
    Bloated with too many pratfalls yet too little plot, and neutered of its most viciously hysterical moments.
    • 66 Metascore
    • 50 Critic Score
    Those who have never seen the series should either swim rapidly in the other direction or be willing to dive right in and suspend disbelief about the multitude of things that just don't make sense.
  50. Big and dumb and loud and entirely past its prime.
  51. The movie has some pleasures, but can be heartily recommended only to those who like their entertainments equally inoffensive and inconsequential.
  52. It’s very colorful, for sure, but the dialogue is lead-footed at best.
  53. One of those slow-baked Southern character studies about taking an old flat tire of a man and finding some way to love him anyway.
  54. Too bad the movie was assembled by Hollywood types -- Joel Schumacher directed, Jerry Bruckheimer produced -- who like to have things 15 ways at once. Hollywood types don't like journalists, so while they're lionizing Guerin, they go out of their way to make almost every other journalist depicted in the picture despicable.
  55. As the phrase turns, it's better when things come off WITHOUT a hitch.
  56. As preposterously awkward, naïve and contrived as this movie is, it's still a curious sort of pleasure to witness-especially the gospel singing scenes.
    • 34 Metascore
    • 50 Critic Score
    Silly, light fare made better by the over-the-top physical comedy of Bullock and King, but lacking the innate charm of the original.
  57. Rojas is played by Penélope Cruz, who's endearing enough, but still comes across coarse and irritating every time she attempts a role in English.
  58. One-dimensional fluff piece.
    • 33 Metascore
    • 50 Critic Score
    The new film is also sleeker, sexier, and, thankfully, shorter than the original.
  59. Duchovny bookends his story with a modern-day framing device that takes all that has gone so well until this point and turns it cloyingly sentimental.
  60. Relatively harmless fun, although it does make you wish Ferrell would do more risky, rule-bending work like "Anchorman." Enough with the generic star vehicles man, write thee a screenplay again!
  61. Imagine what someone like Danny DeVito might have done with the material, taking it in that darker "War of the Roses" direction instead of languishing in this sunny, not-nearly-sinister-enough "Legally Blonde" territory.
  62. Lords of Dogtown may pop for the skateboarding crowd. It fizzles for the rest.
  63. Borderline reprehensible, High Tension is a living nightmare, but then, why else would you see it?
  64. Skillfully manage to adapt some key details of the show -- namely, the high-flying car chases and hillbilly narration.
    • 56 Metascore
    • 50 Critic Score
    Jason Statham is back as the fast-driving, fast-kicking Frank Martin, but this sequel fails to deliver the charm of its predecessor.
    • 24 Metascore
    • 50 Critic Score
    Summing up, yes, the effects are shockingly bad here, but the real tragedy is that this is a good story that was made into a movie by the wrong people.
  65. The image of Gwyneth Paltrow looking anguish-stricken has become such a cinematic meme that it hardly bodes well for Proof that it opens with this sight.
    • 62 Metascore
    • 50 Critic Score
    The film falters in the moments where it can't decide if it's an entertainment about a likable criminal, or a serious commentary on the exploitation of the Third World.
  66. I'd like to say that Flightplan is one of those white-knuckle, edge-of-your-seat thrill rides that critics are always raving about, but instead, it's more like a transatlantic flight with no clear destination, where the cabin noise makes it impossible to sleep and the in-flight movie is a rerun.
    • 41 Metascore
    • 50 Critic Score
    A quarter of the way through the film, it’s all just too much.
  67. Their movie is cold, and I mean that not as a weather pun, but in the sense that it's impossible to warm up to a character who sees the awful things happening around him strictly in terms of how they affect him.
    • 48 Metascore
    • 50 Critic Score
    In the film, the cleverness just isn't there. There's still a lot to like about Chicken Little - the animation is top notch, and the characters, if somewhat recycled, still generate the requisite sympathy and chuckles.
  68. That Jarhead is an impressive technical achievement is a given, but ultimately this picture is the last thing any war movie should be: innocuous.
  69. The moviemakers are accomplished enough to make something coherent out of this tonal mishmash, but I was left with a "was this trip really necessary" feeling for all that.
    • 36 Metascore
    • 50 Critic Score
    What made Aeon Flux compelling and special as an animated series had everything to do with the medium and the freedom Chung was given to shape the story as he pleased. Take away those elements, and Aeon Flux becomes nothing more than middling science fiction, which is unfortunately what the film is.
  70. At heart, a light, watchable film.
    • 27 Metascore
    • 50 Critic Score
    Ironically, for all of Stranger's faults, director Simon West has probably made a perfect date movie: just suspenseful enough to keep you arm-in-arm with your beau or belle; but silly enough that you'll both laugh about it afterwards.
  71. Surrounding Council and Moore in this cacophonous, bleak New Jersey are a set of cops, neighbors, and relatives played by actors that the unimaginative Roth yanked directly from various TV gritty crime shows; it's like he thought HBO was his personal casting agent.
    • 47 Metascore
    • 50 Critic Score
    Though McConaughey has proven himself game for romantic comedy contrivance in the past, his charisma is all wrong for the immature Tripp.
    • 58 Metascore
    • 50 Critic Score
    Farrell and Hayek are two beautiful people with absolutely no chemistry. Even when they're lying in bed together, they're so far apart that they might as well be in different movies.
  72. A clichéd rock-star film.
  73. Even if its premise weren't so achingly familiar, the film's bland humor and oddly conservative depiction of its central character, a flamboyant drag queen named Lola, would still make it seem like a museum piece.
  74. Director Shortland frames the story against the apt grey, off-season ski town, but her attempt to match it with deliberate pacing just makes the film feel chilly and too long, just like Heidi's depressing routine.
  75. At root, novelist Dan Brown’s story is an entertaining one--whether you believe any of these ideas are real or not. And in the end, it’s that standard movie trope (good guys must solve dire puzzle while bad guys give chase) that makes The Da Vinci Code an okay film.
  76. The Proposition can be appreciated as a strong technical exercise, but it fails to resonate on any deeper level.
    • 45 Metascore
    • 50 Critic Score
    Peyton Reed's The Break-Up proves there is nothing particularly funny or charming about two people splitting up, even if the couple is played by Vince Vaughn and Jennifer Aniston.

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