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 Curious Case of Benjamin Button
Lowest review score: 0 Waiting...
Score distribution:
1,070 movie reviews
  1. The problems with Tokyo Drift start with its ostensible hero; during the course of this movie, Sean makes so many dumb decisions it's a wonder that anyone wants to be associated with him.
  2. When he runs out of material to tickle with, Black dips into his musically tenacious "deedle-diddle-dee" for some sure-fire ridiculousness.
  3. So stupendously funny at times that she (Streep) nearly salvages the whole thing.
  4. Dead Man's Chest is best summed up by the scene where Sparrow and Will battle each other atop a runaway water wheel. Like the characters, this movie is just running in circles.
    • 65 Metascore
    • 50 Critic Score
    Part of the Clerks charm was that Kevin Smith made it for $27,000, and a bigger budget doesn't really help this kind of tale's authenticity.
  5. My Super Ex-Girlfriend was written by longtime "Simpsons" scribe Don Payne, but you wouldn't know that based on the finished film, which lacks the intelligence and sly wit that has kept Homer and the gang on the air for all these years.
  6. Somehow the movie ends up feeling like a museum piece or, worse still, a work of fiction.
    • 66 Metascore
    • 50 Critic Score
    So if you like Ferrell or Cohen, go ahead buy some popcorn, check your brain at the door, and you will laugh.
    • 48 Metascore
    • 50 Critic Score
    It really never amounts to more than a barely warmed over rehash of teen dance flick moves.
  7. One could argue that you shouldn't expect a teen comedy to offer a nuanced depiction of the role of education in public life, but in response I'd refer you to "Election" and "Clueless."
  8. Ma, who portrayed the stone-faced General in the Coen brothers' comedy "The Lady Killers," once again plays his role largely silent. As the despondent Ed, Ma says more with a few facial expressions & twitches than most performers could hope to with a three-page monologue.
  9. It's great that the comedian felt the call of a higher office, but it's a call that apparently only he can hear.
  10. Flags of our Fathers really loses its way in the final half-hour, when the point-of-view abruptly shifts to James Bradley (played here by Tom McCarthy), who takes on the role of narrator, informing us of what happened to each of these men after the war ended and their names became yesterday's news. It's a jarring switch.
  11. Technically, it rewards with nothing less than painterly cinematography and a seamless surge of organic soundscapes, but the story is entirely predicated on a weather metaphor so obvious that even an unplugged Doppler radar could detect it.
  12. There's no question that Death of a President fulfills its objective as a conversation starter, but as a movie, it's sketchy at best.
    • 59 Metascore
    • 50 Critic Score
    Cocaine Cowboys might work better as a miniseries for television; as it is, the two-hour running time is fatiguing and some of the later material gets lost in the onslaught.
  13. Finney, only seen in these flashbacks, is pitch perfect.
  14. Ledger turns in another stellar performance and Cornish is heartbreakingly good also in this well-crafted film. But once that first plunger is pushed, the surprises are few.
  15. From the beginning, something doesn't feel quite right about their latest romp. The characters are sketchier, the situations more contrived and the laughs are fewer and far between.
  16. I hold Soderbergh in high esteem, but as handsome a technical achievement as it is, The Good German plays to me as a failed experiment.
  17. You're most likely find that Eragon is less a gem and more cubic zirconia -- nice to look at but not as preeeecioussss as its recent fantasy bretheren.
  18. We can only speculate why McConaughey chose to play the role this way, but in all honesty, it's a good thing he did. His loony performance is the only surprising thing about this otherwise paint-by-numbers inspirational drama.
  19. The actor that comes off the best in The Ex is Grodin, who spouts some hilariously cranky one-liners that sound too off-the-cuff to be scripted.
    • 28 Metascore
    • 50 Critic Score
    The Hitcher's main problem is that many of the title character's dirty deeds are done off-camera. Instead of seeing Ryder trap his victims before he kills them, the audience is treated to plenty of butchered corpses that seem to magically appear after Ryder leaves a room.
  20. To be fair, Smokin' Aces isn't a complete train wreck. Carnahan stages a handful of strong action set-pieces, most notably a close-quarters elevator shoot-out involving Liotta and Flanagan, that are a blast to watch.
  21. The music is catchy. The actors are likeable. It's all pleasant enough to watch but ultimately it's about as substantial as a pop song. Though it's unlikely to stay with you quite so long.
  22. Earnest, respectful and thoroughly dull.
  23. While each actor is talented in his own right, the on-screen friends' relationship is barely developed.
  24. 300
    That it's so flat as an action movie probably has a lot to do with why people might prefer to jawbone over its putatively controversial aspects--there's really not much of a “wow” factor to revel in.
  25. Meet the Robinsons is a mess -- a sometimes fun but mostly frustrating mess.
  26. Zoo
    Constructing the narrative (made up mostly of dramatic reenactments, although given the static nature of many of the scenes, the word "dramatic" is pushing it) obliquely, Devor and co-writer Charles Mudede weave in the thread concerning the individual referred to as "Mr. Hands" into the film almost casually.
  27. This tale has been told so often (in fact, its roots can be traced back to Fellini's 1953 coming-of-age classic "I Vitelloni") the only way to keep it remotely fresh is to keep changing the time period and the professions of the principal characters.
  28. As a fan, it's upsetting to admit that Dumont's ideas and insights have narrowed with this picture, his relaxed pacing now lethargic, his physically and mentally thick characters too familiar, and his ice-water shocks a bit predictable. It would seem self-parodic if it weren't so damn tragic.
  29. Even Depp's increasingly tired antics can't lighten the dour mood; in fact, Sparrow is completely overshadowed here by Rush's lively turn as Barbossa.
  30. Directed with little flair, a one-sided perspective and a questionable sense of moral responsibility by Dan Klores (his negligent lack of an editorial voice in the couple's lunacy reeks of train-wreck exploitation), Crazy Love is a disturbingly captivating tabloid horror, but that's not Klores' doing.
    • 37 Metascore
    • 50 Critic Score
    The film wraps up in a neat, environmentally friendly package that might keep some kids entertained but will leave adults yawning.
    • 45 Metascore
    • 50 Critic Score
    A mistake was made: Evening is a book that would have been best left on the page.
  31. The Ten has one foot in "Monty Python's Meaning of Life" and another in their "Life of Brian," but ultimately we get the David Letterman School of Comedy: mediocre jokes continually repeated until they sometimes become uncomfortably funny.
  32. The kitchen action here is pretty diverting -- everybody involved seems to have boned up on their Bourdain and Buford, and having done so, sanitized what they've gleaned with Hollywood polish.
  33. The movie becomes less fizzy once DeCillo decides to make A Statement (a rather incoherent one at that).
    • 38 Metascore
    • 50 Critic Score
    Ultimately even the strongest characters deliver mixed results.
    • 49 Metascore
    • 50 Critic Score
    As a bonus, it contains, at least, the best death-by-carrot scene in the history of film.
  34. In my cut of the film, it ends after Jones opens the parcel from his son that's been sitting on his kitchen table since shortly after he left. I recommend viewers leave the theater at that point. You won't be sorry that you did.
    • 61 Metascore
    • 50 Critic Score
    Ultimately, The Jane Austen Book Club amounts to little more than a lukewarm collection of half-realized rom-com scenarios not fleshy enough to warrant their own movie.
  35. It's the sourest and most borderline misogynist picture the Farrellys have yet made.
  36. If it makes anybody feel better, one character in the picture does point out that the whole "extraordinary rendition" concept originated with Clinton. So there's balance for you.
  37. This handsomely mounted film, in its cute ADD way, soon forgets its half-hearted attempt to make History Relevant to What Is Going On in the World Today and morphs into a sort of Classic Comics on acid, or, as a friend so brilliantly put it, "the longest Eurythmics video ever made."
  38. The result is oddly schizoid, but also so insubstantial that to call it oddly schizoid suggests a weight it doesn't have.
    • 47 Metascore
    • 50 Critic Score
    Lambs feels five years too late.
    • 36 Metascore
    • 50 Critic Score
    Though the series seemed like a great concept three years ago, it's now just a repeated assault on the senses, designed strictly for the gross-out crowd, and disturbs rather than scares.
  39. I like a good flying, fire-breathing dragon as much as the next fellow. Beowulf's excesses, though, are such that the film ought to carry the subtitle …But This Is Ridiculous.
    • 38 Metascore
    • 50 Critic Score
    For those who loved his singing in "Velvet Goldmine," Rhys-Meyers once again proves that he has pipes.
    • 35 Metascore
    • 50 Critic Score
    Ultimately Hitman is about bullets, blood, and bombs. For die-hard fans of the videogame, there is much to relish in terms of cobblestone car chases, punishing fistfights, cool weaponry, impossible physical feats, and ear-popping gun battles that rage through exclusive hotels in exotic locations.
    • 33 Metascore
    • 50 Critic Score
    You won't see the twist coming, thanks to a clever and precise piece of casting, but that's the best compliment that can be paid to Awake, a plotty and unfocused medical thriller.
    • 32 Metascore
    • 50 Critic Score
    An inoffensive piece of seasonal movie-muzak.
  40. The problem here, which vitiates the picture's ingenuity and causes it, finally, to sink like a stone, is in the physical execution of the material.
    • 51 Metascore
    • 50 Critic Score
    Ultimately fails as a film in its broad strokes and inadequate scene development.
    • 47 Metascore
    • 50 Critic Score
    A chick-flick on a sugar high, so giggly-bouncy and nostalgic for the fantasy-girlhood of its audience that the DVD, which should follow relatively quickly, should come packaged in big pink bows and include a coupon for a free pony ride.
    • 46 Metascore
    • 50 Critic Score
    Rambo is surprisingly effective as an action movie precisely because the villains seem truly dangerous and the "mission" truly a death wish.
  41. Although McDormand's performance is consistently focused -- one would expect no less from the actress -- the movie itself can't settle on whether Miss Pettigrew is Mary Poppins minus the sugar spoonful or just plain Carrie Nation.
    • 48 Metascore
    • 50 Critic Score
    21
    There are moments where Spacey and Bosworth have their fun in spite of the film -- they both adopt Southern "characters" as disguises at one point, which is a hoot -- but overall, 21 is a busted hand.
    • 65 Metascore
    • 50 Critic Score
    It's clear the creators wanted to bring our hero back but were uncertain where to put him. Sadly, Indiana Jones is not relevant amidst the atomic blasts and disillusionment of the Soviet era, and he's not even recognizable in the pixilated universe of recent cinema. To quote the great Dr. Jones, "It belongs in a museum!"
    • 64 Metascore
    • 50 Critic Score
    The arc of the story mirrors "Before Sunrise" and "Before Sunset," but the writing isn't nearly as strong, nor the characters as believable -- or likable.
    • 56 Metascore
    • 50 Critic Score
    The lack of insightful commentary keeps the spotlight focused on Maher. That's not restraint; it's a missed opportunity.
    • 56 Metascore
    • 50 Critic Score
    The religious symbolism couldn't be more obvious (or disturbing). Keep your religion out of our vampires, Hollywood!
    • 32 Metascore
    • 50 Critic Score
    While Repo! is obviously no "Zauberflöte," it does offer up spectacle on an operatic scale.
    • 38 Metascore
    • 50 Critic Score
    The controversial subject matter will undoubtedly hit close to home for many people, but a few genuinely uncomfortable scenes will either provoke the audience into serious thought or just cause them to leave the theater angry.
    • 36 Metascore
    • 50 Critic Score
    Dawson is lovely to watch, and when Smith isn't furrowing his brow and looking concerned, he's not so bad himself.
    • 34 Metascore
    • 50 Critic Score
    Just because it’s less campy doesn't mean the acting isn't awful.
    • 52 Metascore
    • 50 Critic Score
    There’s an over-abundance of dialog that can be downright boring, especially when it’s sandwiched between fast-paced car chases and all-out gun fights.
    • 52 Metascore
    • 50 Critic Score
    Parents might like the film, but will be too busy explaining the complicated plot to their children to really enjoy it.
    • 41 Metascore
    • 50 Critic Score
    While the concept is interesting, the whole thing comes off as a rather hilarious, um, disaster.
    • 41 Metascore
    • 50 Critic Score
    If you have a propensity for motion sickness you would be best served staying away. This movie is Tarantino on speed, and without focus and style. It is in-your-face and proud of it with no apologies.
    • 46 Metascore
    • 50 Critic Score
    Predictable, and stereotypical.
    • 48 Metascore
    • 50 Critic Score
    Betty White is what makes this film memorable as Andrew’s grandmother. She steals every scene, and adds the sweetness that a film like this needs.
    • 53 Metascore
    • 50 Critic Score
    Starts out strong and boasts a convincing picture of the post-war world as an anarchic desert. But it comes to ditch its fun stylization for vague themes of religiosity and morality, leaving you with a disappointingly muddled movie.
    • 69 Metascore
    • 50 Critic Score
    Those expecting a return to the depravity and menace of Abel Ferrara’s 1992 notorious original will be disappointed.
  42. At the very least, Cyrus forces one of these man-children to face a younger version of himself, and find a grown-up compromise.
    • 51 Metascore
    • 50 Critic Score
    Predators biggest failing is that it manages to make its sci-fi violence absurdly boring.
    • 60 Metascore
    • 50 Critic Score
    Machete is exactly what you expect. There's ridiculously over-the-top violence, plenty of nudity, and lots of grisly humor. It's mostly enjoyable, but isn't likely to be anyone's top 5 anything.
  43. It's too bad that the movie induces eyeball-rolling almost as much as it does armrest-clutching.
  44. Flashy, forgettable fluff.
  45. With its ho-hum hero and lackluster love story, The Order would likely be one big implausible bore if it wasn't for production designer Miljen Kreka Kljakovic.
  46. There's no question that Civil Brand has an ambitious premise, but it feels boxed in by the standard prison-movie formula.
  47. Lacks the heart that might otherwise have breathed life into the pointless shtick.
  48. Zombie's film plays more like an experimental pastiche than an outright homage to those classic road-trip-gone-wrong movies.
  49. Despite its preposterous leaps of logic, it somehow still emerges a reasonably entertaining summer blockbuster.
  50. Clunky and riddled with clichés from start to finish, which is a shame because the cast is able and is led by Oscar-nominated director Mike Figgis.
  51. When confronted with real problems--and there's enough melodrama here to top a movie-of-the-week marathon on Lifetime--these otherwise empowered characters seem helpless to defend themselves.
  52. The filmmakers may have wanted to deconstruct any sense of a formal, cohesive narrative; instead, they have merely demolished it.
    • 38 Metascore
    • 38 Critic Score
    Both Harris and Gooding, Jr. are fine actors trapped in a mawkish, pandering production that wastes the latter and is a waste of time for the former.
  53. Each segment introduces new characters and a radically different scenario, which suggests that Hancock's structure may actually be an insecure attempt to deliver a horror movie.
  54. Earle fans might see this film as a satisfying portrayal of a man they know and love, but those unfamiliar with the man and his music will likely leave the theater without much more interest in him than when the movie began.
  55. It is the overwhelmingly acrid sense of humor that leaves a bad taste in one's mouth at the end of the film.
  56. At best, this movie functions as a brief companion piece to Boy George's new Broadway show, “Taboo.”
    • 37 Metascore
    • 38 Critic Score
    Sticky, saccharine, bordering on diabetic, Honey overindulges.
  57. Paycheck is a bogus journey.
  58. The whole film, in fact, feels slapped together and unfocused. Though the movie’s too dopey for anyone older than ten, there are scenes where characters drink and go skinny-dipping.
  59. The premise of the film is serviceable, but the execution is flawed and entirely underwhelming.
    • 26 Metascore
    • 38 Critic Score
    Laughably clichéd, abominably written, astonishingly dreadful attempt at a psycho-sexual thriller.

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