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 The Fountain
Lowest review score: 0 I Know Who Killed Me
Score distribution:
1,070 movie reviews
  1. As for this film's esteemed director, I don't remember getting such sheer pleasure out of an Altman movie since . . . hmm, lemme look at the filmo . . . hmm—"The Player"? Not so much . . . "O.C. and Stiggs"? I wish . . . Um, "Popeye"? More likely, but . . . Ah-"A Wedding." Yeah, that’s it, "A Wedding." Whoa. That was, like, almost 30 years ago.
  2. 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.
    • 75 Metascore
    • 63 Critic Score
    Raises some probing questions about the secrecy of ratings decisions in a way that entertains and educates audiences with or without agendas to protect film integrity.
  3. What On the Run has going for it: solid acting, taut editing, smartly economical dialogue, an elevatingly reverberant score, and a rousing vitality that left me salivating for The Trilogy in full.
  4. It's an awful shame that Shelly will not be making any more films, but all the more reason to celebrate Waitress now.
  5. This is a movie, not a position paper, and Moore aims to entertain as he informs.
  6. Proves more irksome than moving.
    • 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.
  7. In the way that water can heal and harm, this film balances moments of dreamy spirituality with the salty harshness of family disputes.
  8. Though Flushed Away certainly aims to please viewers of all ages, it’s the anglophiles of all ages who are going to get the most out of the film.
  9. Some viewers will wonder what exactly it is they are supposed to be laughing at, but those that do find themselves on the movie's wavelength will enjoy its observational approach to comedy.
    • 74 Metascore
    • 88 Critic Score
    Inception is one of the best sci-fi movies of the new century, a mind-bender about dreams as public spaces.
    • 74 Metascore
    • 75 Critic Score
    Serenity may not be the next "Star Wars," but it's the best we've seen since the original trilogy, and if Wheedon is planning Serenity trilogy (the door is left open), it would certainly be welcome.
  10. Whitaker's Amin is the kind of raging lunatic that only an actor who has made a specialty of quiet caginess could pull off so convincingly. It's great, and scary, to see Whitaker turn it up to 11 for once.
  11. The Orphanage's joys come from the experiential: Bayona's cultured technical skills, including some phenomenal sound design, and sustained anxiety. It's about as healthy as junk food gets.
  12. 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.
  13. This lengthy, nuance-filled story about how eye-for-an-eye stuff differs from theory to practice is one of the most considered, thoughtful, and involving movies of its kind.
  14. Once the picture gets into Hollywood's bloodstream, it could well prove to be as influential as John Woo's 1989 crime thriller, "The Killer."
    • 74 Metascore
    • 88 Critic Score
    It's the kind of smart, stylish, entertaining and grown-up movie that the studios are making less and less of these days.
  15. At the very least, Cyrus forces one of these man-children to face a younger version of himself, and find a grown-up compromise.
  16. There's no one today writing English dialogue as sharp as Bennett's, and hearing it delivered expertly is a pleasure worth sitting through some dodgy montages for.
  17. What does not work, in a movie where almost everything, including dramatic rhetoric, has been kept on a modest scale up to this point, is the heavy-handed way Winterbottom (and Jolie) contrast the pain of loss with the pain of begetting toward the end.
  18. The depiction of everyday life at the orphanage is far more compelling than Vanya's personal quest. It's unfortunate that once the Italian hits the road, The Italian loses its way.
  19. 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.
    • 74 Metascore
    • 63 Critic Score
    The dynamic between Leonard and his lovers is uncomfortable and not in the good way like Ricky Gervais's dancing.
  20. A rough-and-tumble magnum opus of digital filmmaking that thrillingly basks in the sick, slick, sexy and quick-witted excesses of its imaginatively mutant stylizations.
  21. The ending of Teacher's Pet, like the rest of the film, feels a bit rushed. Then again, the movie is geared toward a population with small attention spans and smaller bladders.
  22. The procedural aspects of the story are briskly done, and Chris Cooper's portrayal of the traitor Hanssen is a typically Cooperesque marvel.
  23. The genuine article, a hard-core horror picture from start to finish... Prepare to get seriously stresed.
  24. Penn has often said that he dislikes acting and would prefer to direct full time. Into the Wild is impressive enough to give him license to do just that.

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