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 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 American Splendor
Lowest review score: 0 Boogeyman
Score distribution:
1070 movie reviews
  1. 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.
  2. Close is the best and worst thing about the film, delivering a performance that upstages even Christopher Walken (!), taking her over-the-top Cruella de Vil turn to its saccharine-sweet opposite.
  3. While Solondz's world is a hell hole and Anderson's "Rushmore" is a place of high-toned and often poignant whimsy, Napoleon Dynamite's unceasing burlesque creates a world that is pretty much a cartoon--and it's a damn funny cartoon to boot.
  4. Soars gloriously into fluency and magic.
  5. Over the course of almost two and a half fascinating hours, they make a cogent, compelling, powerful argument, and they also make a terrific movie.
  6. 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.
    • 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.
  7. The mood never droops, however, saved by Mario’s well-studied ability to channel his father, a performance as delicately nuanced and polished as the film is frenetic and raw.
  8. 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.
  9. Boasts both wicked satire and a big heart, and as a result, is nothing short of brilliant.
  10. 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.
  11. The humor is so satisfying in its moment-to-moment pleasures that it's almost unsportsmanlike to criticize the bigger picture.
    • 56 Metascore
    • 75 Critic Score
    Wolfgang Petersen's Troy recalls an age when Hollywood not only gambled on but flourished with grandiose epics and casts of thousands, and brings megawatt star power to what is, at root, a brilliantly told story.
  12. Stylistically, Carandiru is definitely less monochromatic than an "Oz" rerun.
  13. By the end the movie has pretty much ceased taking itself at all seriously, devolving into a nonchalant giggliness of the stoned variety that's completely apropos.
    • 33 Metascore
    • 25 Critic Score
    Despite a lavish budget and one of the most expensive movie sets in the world--the island of Manhattan—they (Mary-Kate and Ashley Olsen) can’t buy love, talent, or a decent script.
    • 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.
  14. 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.
  15. With its cheap scares, its defiant lack of special effects, and the most blatant usage of a red coat as a stand-out prop since Schindler’s List, Godsend is as much an experiment-gone-wrong as its Frankensteinesque plot.
    • 38 Metascore
    • 75 Critic Score
    A subtly hilarious supporting performance from Frances Fisher, as Moore's mother, and a latter-day Sid and Nancy (Michael Sheen and Parker Posey, seeming deliriously inebriated the entire time) round out the thoroughly diverting cast.
  16. Mean Girls depicts the kind of traumatic high school experience that might await spoiled rich girls who grow up in two-parent households with designer clothes and Escalades.
  17. Nearly perfect in its own cotton-candy way.
  18. Not even within earshot of a masterpiece, Man on Fire, based on its ratio of production costs to quality alone, may prove to be the worst movie of 2004.
  19. This is a movie of head-spinning richness.
  20. From an audience perspective, the title’s fairly apt as well.
  21. Films like this have a way of finding their own devoted fan base, and Gypsy 83 deserves to be discovered not only by Goth and gay crowds, but by anyone who runs screaming from all things average.
  22. It’s rich enough in atmosphere to make you almost buy the quasi-allegorical absurdities.
  23. The studio wimped out, and the result is a lesser production on every level: talent, script, content, and purpose.
  24. Ella Enchanted seems squarely aimed at 12-year-old girls, or, I don't know, maybe 8-year-old girls.
  25. 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.

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