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 Spider-Man 2
Lowest review score: 0 Waiting...
Score distribution:
1,070 movie reviews
  1. The Broken Lizard guys don't so much send up a genre as inhabit it, and subvert it from the inside.
  2. Bergman wants the viewer to empathize more with the characters’ perseverance than their pain, and he pulls it off, thanks to his sharp eye, compassion, and humor, and of course to the performances. [March 2004, p. 26]
    • Premiere
  3. An amply entertaining tale of survival terror, fully realizing the epicness of Romero's vision by infecting every wide-angled overhead shot with as many computer-generated cadavers as possible, and bridging tense moments with a laugh-aloud, plucky wit.
  4. It’s tempting to summarize this Irish picture as a working-class version of "Love Actually," and indeed, the hardscrabble lives of most of its amorously unfulfilled characters go a long way in making it a whole lot less emetic than Richard Curtis’s hugfest.
    • 72 Metascore
    • 75 Critic Score
    If the film's love triangle feels a little silly and the arch-villains a little over the top, it's all secondary to del Toro's passionate immersion in Hellboy.
  5. 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.
  6. It’s rich enough in atmosphere to make you almost buy the quasi-allegorical absurdities.
    • 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.
  7. 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.
    • 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.
  8. The humor is so satisfying in its moment-to-moment pleasures that it's almost unsportsmanlike to criticize the bigger picture.
  9. Kids deserve an adventure movie like this, one that might inspire them to become junior inventors and ignite their interest in the world's many wonders.
  10. 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.
  11. There are more than a couple of moments in this film, adapted by writer-director Tod Williams from a big swatch of Irving’s multigenerational quilt "A Widow for One Year," that get Irving’s sense of grotesque tragedy and tragic grotesquerie just right
  12. Anchorman is the kind of wonderful, cotton-candy escapism that should leave you with the right kind of stomachache.
    • 59 Metascore
    • 75 Critic Score
    Home is a difficult film for its viewer, because none of the leads fall into the comfortable categories of film characters played by movie stars.
  13. The action is great, the story line unpredictable, the ending satisfying. Stander is crackling. Really.
  14. Exceptionally strong performances from the entire cast draw you into the movie's deliberately provocative world, a "Lord of the Flies"–like realm where parents are noticeably absent.
    • 59 Metascore
    • 75 Critic Score
    It's capable and strong direction that hold the audience through the final match, but in the end, it's Paul Bettany's world, and the rest of us are just happy to visit for an hour and a half.
  15. This is a real grabber.
  16. Some might not even notice what's going on when director Walter Salles finally shows his hand, and ends the film with documentary footage of the real-life Granado, now aged 81, romping in the earthly paradise that is present-day Cuba.
  17. Shame is a welcome reminder that sex is sometimes too ridiculous to take so seriously.
  18. Imelda Staunton is absolutely astonishing.
  19. This is Gere’s movie, and Sarandon and Lopez graciously let him dance away with it.
  20. Director Dylan Kidd sneaks some pretty profound observations about love and life by us.
  21. In equal parts powerful and peculiar, the film is not my favorite of Green’s, but it helps solidify his position as one of the most visionary young directors around.
  22. Ray
    Delivers platinum performances, especially Sharon Warren as Ray's tough-lovin' mother, Kerry Washington as his lily-tempered wife, and Regina King as his spitfire mistress.
  23. Most of the dialogue is pretty fresh, and it’s delivered with great brio, particularly by Owen. Roberts, alas, is not at her best here, but she has almost nothing to work with.
  24. All told, while the goods that Daggers offers are choice, the movie ultimately demonstrates that too much can be, well, more than enough.
  25. Soderberg provides a cornucopia of fizzy, post–New Wave imagery, fitting for a picture that’s pretty much all about surfaces.

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