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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Duchess of Langeais
Lowest review score: 0 I Know Who Killed Me
Score distribution:
1,070 movie reviews
  1. Composed of relatively few events and scenes, it's often excruciatingly tense and never less than heartbreakingly human. And as much as I admire "Munich," Shadows leaves Spielberg's film in the dust in the moral-ambiguity department. Never before seen in the States, it's already on my year's ten-best list. (April 2006 Premiere)
  2. The most impressive thing about the film's technical wizardry is, finally, how unimpressive it is. One doesn't leave the movie with a mind blown by visual bedazzlement but with a soul shattered by the profound sense of tragedy Linklater and company so beautifully put across.
    • 74 Metascore
    • 100 Critic Score
    This film, a raw howl of outrage and pain, is proudly one-sided, allowing a generation of wounded men and women to scream their betrayal.
  3. A triumphant revisiting of territory in which Scorsese is an unchallenged master -- the crime drama.
  4. How 49 Up differs from its precursors for the better is that it's the first to have its participants interact with Apted the filmmaker, no longer a one-sided interviewer.
  5. As it happens, each one of these tales is also a love story, and The Fountain is Aronofsky’s profession of faith concerning love’s place in the idea of eternity. It’s a movie that’s as deeply felt as it is imagined.
  6. Inland Empire is interchangably terrifying, maddening, shockingly hilarious and perversely exciting, and that's just to those who end up disliking it.
    • 89 Metascore
    • 100 Critic Score
    Letters from Iwo Jima isn't just the film that Eastwood wanted to make, but one that the film's producer Steven Spielberg had tried to make twice with "Empire of the Sun" and "Saving Private Ryan."
  7. This intense film, a mix of horror, fantasy, and history that convinces on all those levels and mixes them up with dizzying brio, is a searing cinematic experience, a beautiful, terrifying vision from writer-director Guillermo del Toro.
  8. Burnett creates an insistently poetic, devastatingly ironic world and work.
  9. Black Book is Verhoeven's best film since "RoboCop": audacious, smart, shamelessly entertaining.
  10. It's the stuff of not quite dreams, and it's rendered with such accuracy and hilarity that I am tempted to call Aqua Teen Hunger Force Colon Movie Film For Theaters the most successful full-on surrealist film since Bunuel and Dali's 1930 "L'Age d'Or."
  11. Resnais employs all the tools of studio-bound moviemaking, silent-era to post-modern, in a way that is not only is consistently dazzling in a purely visual sense, but contains an empathy that lifts the picture to tragic heights even at those points at which it seems practically weightless.
    • 70 Metascore
    • 100 Critic Score
    With its use of aggressively cheerful hues that are equal parts Technicolor and Tim Burton Candyland, Fido is a "boy and his dog" movie thrown into a horror movie blender. This is perfectly realized in a jaw-droppingly funny "Timmy's trapped in the well" sequence that almost seems like it could have been made in the 50s had George Romero ever worked on "Lassie."
  12. The slapstick-comic set pieces involving Remy and Linguini's cooking struggles might solicit the admiration of Buster Keaton and Jacques Tati.
  13. One of Cronenberg's subtlest, most insinuating pictures, and one of the highlights of the year so far.
  14. A picture that certain Brits and connoisseurs of British colloquial English might call "a grower" … more moving and funny the more I think about it.
  15. It's also that he's really, honest-to-God, got one of those movie faces that doesn't even come along once every generation. It's astonishing.
  16. As stomach-churning a suspense exercise as the cinema has seen since the salad days of Hitchcock.
  17. Every performer in the international cast -- Seigner, de Bankole, von Sydow (magnificent as Bauby's father), and the late Jean-Pierre Cassel to name but a few -- completely disappears into each of their roles, which I think is as much a testament to Schnabel's talents as to theirs.
  18. While avoiding specious bromides about universality, Persepolis insists on communicating with its audience, and insists that communication and empathy are the keys to our survival.
  19. There Will Be Blood is, in fact, not a historical saga; rather, it's an absurdist, blackly comic horror film with a very idiosyncratic satanic figure at its core.
  20. The result is one of the odder and, certainly the most compelling of the short stream of Broadway-to-Hollywood transplants of recent years. The interweaving of the music and the visuals casts an unusual, restive spell of delight and unease.
  21. A remarkably engrossing and thoughtful picture, beautifully rendered in an artful mode of realism.
  22. The first masterpiece of 2008 -- at least by American release date standards -- the latest film from master French director Jacques Rivette is a masterful, multilayered, sometimes enigmatic work of dark irony, an assured tragicomedy of manners and more.
  23. A giddy kick-out-the-jams entertainment. Diary takes a tack that's not exactly new, but is new to Romero, and as one might expect, the director brings a sharp and uncompromising new perspective to it.
  24. This is not a children's picture, although it touches on the imaginative powers and emotional resilience of children. It's another slice of Hou's distinctly poetic realism, and as such, also a kind of tribute to Paris -- the Paris of both today and of the older film.
    • 58 Metascore
    • 100 Critic Score
    Quantum, thanks to a deft blend of exotic escapism and bare-bones modernism, is more than strong enough to be judged on its own. In fact, it's the perfect Bond film.
    • 56 Metascore
    • 100 Critic Score
    The whole thing works, especially for the non-comic audience. Plus, the music is perfect, especially the opening montage set to Bob Dylan's, "The Times They Are a-Changin."
    • 57 Metascore
    • 100 Critic Score
    To call Towelhead exploitative is to miss the point. What made Towelhead the novel so extraordinary was the honesty in Jasira's adolescent narrative voice, the genuine way she misguidedly, but honestly, conflates the sexual attention she receives with the parental affection she really needs. With the film, Ball, though he drops the book's first person narration, is faithful to that voice.

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