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 Raiders of the Lost Ark
Lowest review score: 0 Waiting...
Score distribution:
1,070 movie reviews
  1. Mafioso isn't a straight black satire of Sicilian culture so much as a suspenseful near-tragedy leavened by the zesty, irreverent wit that helped define the golden age of Italian comedies.
  2. It makes for a daringly different kind of thriller -- cerebral, meticulous, haunting.
  3. When the movie isn't being scary, it's crazily funny, so much so that critical watchers will wonder if Bong might tilt the balance of the picture too far in a comic direction and water down the scares. He doesn't.
  4. A thoroughly engaging, terrifically moving family story that's rich in beautifully observed and lovingly conveyed human detail.
  5. The masterly Panahi concocts a spellbinding, often corrosively and/or warmly funny story in which love of both country and sport tries to, but doesn't quite, transcend dogmatic and ingrained difference.
  6. As much as I enjoyed much of it, I hope Grindhouse doesn't start any trends. Exploitation cinema is combustible stuff that only highly trained professionals should be permitted to play with.
  7. Rock the Bells doesn't just delve behind the scenes; it makes a showstopping guest-MC out of each crazy new obstacle.
  8. Once may not boast stellar production values or elaborate dance numbers, but in its own scruffy way it captures the spirit of the genre better than any recent Hollywood musical.
  9. The result is a kind of very faux documentary style, which, along with the subject matter, has suggested to some the influence of the BBC television series "The Office." Von Trier says he's never seen an episode, and I believe him.
  10. Paprika ain't no kiddie 'toon, even if its thumpin' techno-pop and bubble-gum thrills have the same splashy palette as an episode of "Pokémon" or "Dragon Ball Z."
  11. This is filmmaking that's as rousing as it is strange.
  12. If this is in fact merely a longer Simpsons episode, it's a damn good Simpsons episode.
    • 86 Metascore
    • 88 Critic Score
    This Is England may be best summed up as a "coming-of-age" story that puts aside the clichéd baggage often carried by the description and ultimately ends up being moving, genuinely funny, thought-provoking, and highly recommended.
    • 73 Metascore
    • 88 Critic Score
    As fate would have it, Rocket Science might prove to be the handiwork of a burgeoning cinematic genius.
  13. Where Dans Paris truly pops, besides its spot-on leads or the slick curation of its fashions and locales, are in its mood-mixing musical moments.
  14. As forceful as its title suggests, and sometimes unbelievably ballsy.
    • 83 Metascore
    • 88 Critic Score
    If you don't play at all, you may find yourself enjoying this film more than anyone, because you'll at least get all the laughs with none of the cringing self-recognition.
  15. Exiled brings To back to lighter ground, and it’s one of his most assured, enjoyable pictures, refreshing fun that’s sure to satisfy anyone’s action jones.
  16. An intense New York-set thriller that manages to be both commercial and contemplative, kick-ass and quietly, disturbingly insinuating.
  17. A richly drawn, ambitious character piece both socially relevant and genuinely suspenseful.
  18. Proceeds at a very stately pace, hoping the otherworldly mood of its detailed recreation of the old West might seep into the viewer's bones. This viewer did, as it happens, fall under the film's spell.
  19. The action is violent, messy, and threaded through with dark humor. This is a movie for grownups, for sure, but it has a mulish kick that most such pictures consider themselves to tasteful to aspire to.
  20. A smart, sweet, and thoroughly disarming ensemble comedy that isn't afraid to wear its humanism on its sleeve.
  21. Lars's attraction to Bianca is like an audience's to an actor onscreen -- the object is fake, an approximation, but for some that's better than flesh and blood. Bianca is a work of art. And so is Lars and the Real Girl.
  22. Haynes's picture may not be perfect -- hell, I'm not even sure that perfection is a state it even aspires to -- but it's bold and individualistic and accomplished. A reason to take heart for the state of current American moviemaking.
  23. I generally resist calling any actor's work "brave" or "fearless" or any such thing, but Bosco's work here made me reconsider that self-imposed ban. It's incredible, harrowing, precise stuff.
  24. Margot is a fleet, strangely enjoyable film, animated by the acuity of Baumbach's perceptions and -- this helps a lot -- the frequent laugh-out-loud wit of his dialogue.
  25. It's terribly strong -- in structural ingenuity, emotional pull, and particularly visual beauty.
  26. All of these actors are incredibly fine, and as a confirmed Beckinsale non-fan, I'm obliged to say that she really knocked me out here.
  27. This is very much a French intellectual cineaste's idea of a B thriller, and hence is as far from innocent in its genre as you can get. Which is not to say that Assayas deals in bad faith.

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