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 Manchurian Candidate
Lowest review score: 0 Chapter 27
Score distribution:
1,070 movie reviews
  1. The story is a vapid "Casablanca"-lite.
  2. Director Brad Anderson (Session 9) overtly cribs from everyone from Dostoevsky to Kafka.
  3. For his fourth paycheck-cashing run through “J-Bruck’s” action-hero gauntlet, Cage lazily plays Benjamin Franklin Gates-the first of many overstuffed social-studies references.
  4. An ambitious disaster, Alexander is the rare historical portrait that leaves you feeling as though you know less about its subject than you did upon entering the theater.
  5. Kevin Spacey is a darn good actor, and he's a pretty good singer to boot. But those traits alone do not excuse the painful experience to be had sitting through Beyond the Sea.
  6. A relatively harmless (and thankfully, not entirely laughless) trifle.
  7. Blunderingly out-of-touch, star-studded embarrassment of a sequel.
  8. As coincidence would have it, Steve Carell's "The 40-Year-Old Virgin" spun comedy gold from a similar idea just last week. Virgin shares not only The Baxter's basic premise, but also two of its key cast members (Paul Rudd and the beautiful Ms. Banks), allowing audiences to see just how much better The Baxter might have been if Showalter had given us some reason to identify with his socially awkward protagonist.
  9. I suspect Scott sees Domino as the ultimate provocation, his way of grabbing Hollywood by the throat and shouting, "You want reality??! I'll give you REALITY!!!" Sort of.
    • 58 Metascore
    • 38 Critic Score
    The sheer absurdity of the presented relationship is redeemed by a sort of surprise ending, but by the time it arrives, you wish it had come sooner, as the pain of viewing has already been interminably long.
  10. Unstylized, inconsistent, unconvincing, and familiar to a fault.
  11. The movie is a leaden, slow-moving beast.
  12. All told, however, this bland little movie fits right into it's late January slot. It's a little bawdy - the fat-lady thong bit was funnier in "Shallow Hall" - and it passes the time.
    • 45 Metascore
    • 38 Critic Score
    Clich├ęs are often a big part of what makes suspense films enjoyable. But Firewall goes out of its way to promise something more than business as usual, and then makes no attempt whatsoever to deliver.
  13. Amid every action cliche in the book, outmoded stereotypes, and a plot derivative of every futuristic drama made in the last fifteen years, Ultraviolet comes off as nothing more than a pale copy of better, more inventive films.
  14. Feels like little more than a stale rehash with a promising cast whose talents haven't been tapped.
    • 45 Metascore
    • 38 Critic Score
    The movie tires itself out setting up the complex plot.
  15. Isn't quite self-aware enough to be really funny, and certainly isn't serious or genuinely exciting enough to be thrilling because of it's action.
    • 26 Metascore
    • 38 Critic Score
    Little Man only proves that some should just stick to the sketch comedy, and leave the big screen to "Big Daddys" like Adam Sandler who the critics tend to snub, but who know how to make an audience laugh.
  16. What once was a gifted comic's fluid improvisation is now a doddering old man so embarrassing he's uncomfortable to watch, and the surrogate father-daughter needling he has with Johansson is creepy when you realize Woody the director is shooting her seductively in that skintight bathing suit.
  17. Trust the Man mainly feels like the work of a New Yorker who hasn't left his trendy neighborhood in ten years.
  18. A thin sprinkling of exuberance and a couple of choice cameos, that's about all this underwritten and overly choreographed spectacle has to tease us with.
    • 30 Metascore
    • 38 Critic Score
    The streetball scenes, much like the plot, have a few high points but never hit their stride.
  19. For the most part, Murphy is pitching somewhere between "American Beauty" and "The Royal Tenenbaums"; indeed, the characters Bening and Gwyneth Paltrow play in Scissors are, in a sense, inversions of their roles in Beauty and Tenenbaums, respectively.
  20. By straining to make a respectful war film for everyone, Winkler and Friedman have wound up with a toothless picture that won't satisfy anyone.
    • 44 Metascore
    • 38 Critic Score
    Director Sylvain White, whose last film was the equally unnecessary "I'll Always Know What You Did Last Summer," manages to take the joy out of a dance movie by jerking the camera around and speeding up the dance moves so much.
  21. Time doesn't just slow down while you're watching Catch and Release -- it actually comes to a dead stop.
  22. Too slack to do much harrowing and falls back on some very raggedy commonplaces at the points when it should be delivering knockout scares.
  23. As a fan of the genre, and someone who genuinely loves such recent horror efforts as "The Descent" and "The Host," I respectfully suggest that the atmosphere for horror movies might be better if moviemakers stopped making ones like this.
  24. Some of the effects are squirm-worthy, if not actually frightening. Amid all the fake profundity, those moments -- you know, when the film is actually entertaining -- are rare.

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