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 2046
Lowest review score: 0 I Know Who Killed Me
Score distribution:
1,070 movie reviews
  1. The script's flaws are most keenly felt in the Jodie Foster storyline, to the point where her character seems more like a bumbling screw-up than a supposedly sought-after facilitator. Whenever Lee turns the camera back to Denzel and Clive though, the movie works.
    • 62 Metascore
    • 75 Critic Score
    You'll laugh, you'll groan, you'll never buy wool again.
    • 64 Metascore
    • 75 Critic Score
    If you're looking for memorable dialogue and gripping drama, then you better get in line for another flick. But if it's spellbinding special effects and high-wire acts you crave, Wanted should be at the top of your list for big budget thrill rides.
  2. So tasteless, so fiendishly puerile that it’s hilarious.
  3. The action is great, the story line unpredictable, the ending satisfying. Stander is crackling. Really.
  4. A thoughtful, involving and sometimes moving film that almost (and I do mean almost) justifies its use of 9/11 as a dramatic device.
    • 70 Metascore
    • 75 Critic Score
    Action fans might find the film's first half somewhat of a slog to sit through because of its carefully honed exposition, while those used to Zhang's dialogue-heavy dramas are sure to be surprised by the film's brutal second half where blood spurts more than the words.
  5. Iron Man is the first Marvel Comics superhero movie I would willingly sit through a second time. This is the result not just of what the movie does, but what the movie doesn't do.
    • 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.
  6. The fact that Boyle and Garland have here created something close to an actual trip rather than the mere spectacle that most screen sci-fi contents itself with being nowadays is enough to recommend Sunshine.
  7. MacGruber is crude. It’s obscene. The dialogue is puerile and the jokes adolescent. And for the most part, it's hilarious: a bawdy riot drunk on impropriety, which is why the movie works.
    • 36 Metascore
    • 75 Critic Score
    If you liked the first then you are going to like this one as Clouseau is offensive and outrageous, which is a perfect fit for one of the "Wild and Crazy Guys."
  8. 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.
  9. Tristan & Isolde isn't a ground-breaking film in any way, but even though the story is familiar and even if you don't like romances, good casting, an able director, and notable cinematography draw you in to the fairy tale feeling of long ago and far away. Pass the popcorn.
    • 68 Metascore
    • 75 Critic Score
    A visual delight as well as an satisfying period drama.
  10. A picture about tragedy in one American family's life, and it's a convincing and humane one.
  11. It’s worth seeing twice just for the privilege of watching Rampling and Sagnier match each other stroke for stroke.
    • 54 Metascore
    • 75 Critic Score
    An often highly amusing comedy in the vein of "Catch 22" and "Dr Strangelove," this lively satire looks destined for future cult status. Great soundtrack, too.
    • 61 Metascore
    • 75 Critic Score
    Fighting is a fun, frank and faithful homage to simple inner-city drama.
    • 35 Metascore
    • 75 Critic Score
    It is unapologetic about delivering what it promises. Bigger battles. Massive explosions. Megan Fox looking hot.
  12. A wildly creative amusement, thanks mostly to Campbell, whose weathered yet still-taking-care-of-business Elvis is alone worth the price of admission.
  13. What sets Fast Food Nation apart from other recent multi-character studies like "Crash," "Bobby," and "Babel" is that Linklater doesn't set up a single incident that ties all the story strands together.
  14. It puts almost everything it has into its explosive set pieces, but manages to instill the audience with just enough emotional involvement. If, Ah-nold decides to come bach again, this installment should ensure he has an audience.
  15. This is a real grabber.
  16. Wheeler's script is a buzzing contrivance, and Hallström's direction is brisker than almost anything he's ever done. So by all means enjoy The Hoax -- it's smart fun. Just don't buy it.
  17. It touches deftly on class and race and sexual dissatisfaction and never lets up once it has put its characters under a microscope. Beautifully acted throughout, it showcases Watson's most complex performance in years.
    • 72 Metascore
    • 75 Critic Score
    This Superman is like nothing you've ever seen before, but it tickles something primitive and comforting at the back of the mind. Gorgeously detailed and meticulously realized, it's a homecoming of a movie. Just wait for the theme; you'll understand.
    • 83 Metascore
    • 75 Critic Score
    A smart, brisk, but extremely thoughtful hybrid of star-vehicle and resonant depiction of right-now America.
  18. The picture’s great, fast-moving fun for the most part, and Kilmer gives his most appealing, relaxed, and amusing performance since "Real Genius."
  19. If you dissect Masked line by line, it would be, like a Dylan song, indecipherable. But if you take the allegory as a whole, by simply asking the questions, it somehow makes a statement. Is it muddled? Yes. Imperfect? Sure. Impenetrable? Well, that's open to interpretation.

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