ReelViews' Scores

  • Movies
For 3,166 reviews, this publication has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Cry, the Beloved Country
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
3166 movie reviews
  1. Black Book possesses a taut, exciting script that throws surprises at the viewer on a regular basis.
  2. Rude, raunchy, uproarious, yet with elements that are surprisingly sweet.
  3. Although the specter of death hovers over the entire film, it is neither a grim nor a depressing experience. Arcand has injected a great deal of wit into the movie, and it meshes perfectly with the anticipated pathos.
  4. It's not as crisply directed, and the plot holes are easier to find, but Die Hard 2 is filled with the same sense of good-natured, wisecracking fun that infused the original.
  5. As in all powerful films, the content unfolds onion-like, with each level being peeled back to show something fascinating beneath.
  6. Dancing along a line just shy of the edge of brilliance, In the Loop possesses an incisive, take-no-prisoners comedic style that offers plenty of solid laughs while making a point about the stupidity, selfishness, and lack of awareness that exists within the highest echelons of government.
  7. On the Waterfront may have baggage, but that doesn't prevent it from being one of the great American productions of the mid-20th century.
  8. The Edge of Heaven is marked by a number of remarkable performances.
  9. The Father of My Children is exceptional drama. Compelling and unforced, it shows sensitivity and evenhandedness in approaching a difficult subject.
  10. Writer/director Mangold never compromises the integrity of his painfully-intense script. There isn't one crowd-pleasing moment in the entire movie, except perhaps the last scene, which offers a flicker of hope.
  11. The film's look is impressive; it's the most successful rotoscoping effort to date (far surpassing Richard Linklater's duo of "Waking Life" and "A Scanner Darkly"), and causes every frame to drip atmosphere.
  12. Room is honest and challenging but it’s more uplifting than one might expect from a film with such a horrific backstory.
  13. In a year when no fewer than five films have dealt with themes of man vs. nature and survival (including The Martian, Everest, In the Heart of the Sea, and A Walk in the Woods), The Revenant is by far the most brutal, challenging, and astounding of these.
  14. It's a genuine pleasure to find a movie with such a deep and intelligent portrayal of simple human lives, with all their minor triumphs and tragedies.
  15. The rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one.
  16. The rich texture of Hoop Dreams' drama is its greatest asset.
  17. Yes, Fences suffers somewhat from the bare-bones transferal of the “action” from stage to screen but the material is so compelling that viewers can easily lose sight of the movie’s “play nature.”
  18. 12 Years a Slave is by no means light entertainment but it provides a more worthwhile cinematic experience than about 90% of what's out there and the impressions it leaves aren't easily dismissed or dispelled.
  19. This may sound depressing and, in a sense it is, but these things are part of life and Haneke conveys them with a simplicity that is heartbreaking.
  20. Stranger than Fiction is a wonderful cinematic experience - a welcome way to spend a chilly autumn evening.
  21. The tone is perfect; this is one of those rare films that, despite being rooted firmly in the world around us, is utterly absorbing and capable of reducing the immediacies of life into abstract thoughts in the back of one's mind.
  22. Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.
  23. This is one of Levinson's best films, and the screenplay, co-penned by noted writer David Mamet (along with Hilary Henkin), is brilliantly on-target.
  24. The material is intellectual, but the treatment is not. Proof is a stirring motion picture that challenges our views on a great many things about life, some of which we take for granted. And, by opening up the play, Madden has made it less talky and more cinematic without losing the quintessential elements that made it such a success on stage.
  25. Ronin manages to remain focused on the plot and the characters, even while staging increasingly complicated pyrotechnic set pieces and offering its share of white-knuckle moments.
  26. Aronofsky's directorial style is simple and spare. There are no flourishes or attempts to convince us that he is a master of his craft.
  27. It offers a feel-good experience, but without the heavy dose of schmaltz that often accompanies such a production.
  28. The most important features of this "new" version are the digital cleaning of the print and the re-mastering of the sound. There are a few added scenes, but they are mostly insignificant and have been previously seen (at least by fans of the movie) on the laserdisc or DVD releases.
  29. From the first scene, however, it's obvious that the writing/directing team of Andy and Larry Wachowski are aiming for something considerably higher than rudimentary titillation. And, by taking chances and twisting conventions, they have hit paydirt.
  30. The Tree of Life falls short of masterful but retains a power that far too many motion pictures lack. It's about SOMETHING and, even when it fails, it does so in a manner that is interesting and not infantile.
  31. The movie not only represents the best effort from Eastwood since his Oscar-winning "Million Dollar Baby" but the finest acting we have seen thus far from two-time nominee Bradley Cooper.
  32. It's likely that 2004 won't offer a better movie about a mid-life crisis.
  33. The kind of expression of emotion that touches a deeper chord.
  34. A meditation on the pain suffered by a mother when her child turns out to be a monster, We Need to Talk about Kevin is the perfect tonic for holiday cheer.
  35. Magic on celluloid -- fresh, funny, romantic, and upbeat. You'll leave the theater with a smile on your face and perhaps a tear in your eye.
  36. A firecracker of a story - sharply written, superbly acted, and fast-paced.
  37. Although not without moments of sadness and tragedy, Brooklyn is sublimely uplifting and life affirming.
  38. Flipped is Rob Reiner's best film in 18 years, and includes echoes of two of his most accomplished efforts, "The Sure Thing" and "Stand By Me."
  39. Together, Crystal and Ryan really click. Even though their characters are polar opposites (or perhaps because of it), their interaction has a charm and warmth that most motion picture pairings lack.
  40. For those who have gotten their Harry Potter fix entirely through the cinematic incarnation, the script is lucid and fast-moving.
  41. With solid performances and a terrific screenplay, this movie offers solid, no-frills drama that feels organic and believable, not contrived.
  42. Even some who generally enjoy gangster films may be turned off by this one, with its focus on dialogue over action and its harsh style.
  43. This is easily the best family feature of the early year.
  44. Witness states its position about clashing cultures with eloquence.
  45. This is a deeply cynical movie and, in that cynicism, it finds truth.
  46. The purpose of Bully is to educate and promote discussion. If the problem is not solved, there will be more Columbines and additional stories like Tyler and Ty's.
  47. Putting aside all the controversy, however, viewers are left with an expertly-directed and well-acted historical epic that disappoints only in its shallow perspective of the Irish/British and Irish/Irish conflicts.
  48. Les Miserables understandably cuts some of the stage production's numbers, but all of the major anthems are intact and wonderfully presented.
  49. In some ways, it's a simple character drama, but the central conundrum disallows an uncomplicated interpretation. I was never bored.
  50. Despite being a low-key production, La Promesse speaks volumes about how we treat other human beings and what it means to truly grow up.
  51. Crafted without a whiff of melodrama, this motion picture takes a steady, unflinching look at the plight of Jews in Warsaw.
  52. Looks at isolation and the fragility of human relationships. It's a poignant, unsettling motion picture that will baffle those who have become used to Hollywood's compact, tidy endings.
  53. The strength of the acting and the modulation of the screenplay transforms what could have been a run-of-the-mill Lifetime disease-of-the-week movie into something more insightful and intelligent.
  54. Dark City has as stunning a visual texture as that of any movie that I've seen...Visually, this film isn't just impressive, it's a tour de force.
  55. The dialogue -- especially that between Roy and Frank -- crackles with wit and intelligence (a rarity in films these days).
  56. The movie with which it has the closest relationship may be "Glengarry Glen Ross." The same sense of desperation, the same need to make the sale, permeates Margin Call. Both films are to some degree about the dehumanizing impact of money and both are driven more by characters than plot points.
  57. Nothing, no matter how outrageous, is beyond Smith, and his willingness to flaunt cinematic taboos is one of the reasons why Clerks is such a unqualified success.
  58. Especially during the first 90 minutes, Carol is an immersive experience that invites the viewer to slow down and amble along at its leisurely pace.
  59. Horror isn’t for the faint of heart. It’s not a child’s genre. It isn’t meant to be comfortable. In fact, I’m hard-pressed to think of a recent movie that’s as uncomfortable and disturbing as It Comes at Night.
  60. Wong infuses his films with style and energy. His hand-held camera is restless, always moving and shifting. The action sequences are punctuated with unusual shots and stop-motion jumps. By filming Chungking Express in such rich, vibrant manner, the director uses visual images to underscore his themes.
  61. One of the best things about True Lies is that it's genuinely funny.
  62. This installment inches events closer to a merge point with 1968's "Planet of the Apes" while maintaining its own unique identity. It is in every way superior to "Rise of the Planet of the Apes."
  63. Hazanavicius isn't just making a "silent movie," he is attempting to enter a time warp and craft something that would fool all but the most studious and scholarly into believing it could have been a lost film from a bygone era. If his tongue is sometimes a little in his cheek, that's all part of the fun.
  64. Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.
  65. Sayles cannily blends drama, romance, mystery, and social observation into a satisfying, if slightly overlong, whole. In the hands of a lesser film maker, this material could easily have degenerated into routine melodrama, but Sayles keeps it on a consistently high level.
  66. One of the most obvious problems with The Godfather Part III is that it covers little new territory. The plot is highly derivative of the original.
  67. Spotlight is a Valentine to investigative journalism and a stark reminder of where we’re headed now that this brand of writing has become an endangered species. The film is unique in that it focuses almost entirely on the process.
  68. Skyfall can take its place alongside "From Russia with Love," "Goldfinger," and "On Her Majesty's Secret Service" as the best Bond can offer.
  69. The film’s contribution is the unique perspective it provides about what it meant to work in a death camp.
  70. A film as rich in its visual presentation as it is in its emotional resonance.
  71. Actually three movies in one: a wildlife film about how grizzly bears behave in their natural habitat, a character study of an eccentric environmentalist, and a chilling, voyeuristic narrative of how death stalks that man.
  72. The truth can indeed be stranger than fiction and, in this case, were the story to have originated in the imagination of the screenwriter, it could rightfully be criticized as artificial and contrived. But, disturbing and unlikely as it may be, this stuff actually happened, and pretty much as Craig Zobel relates it.
  73. Using perfectly composed shots to amplify an emotionally resonant story, the film successfully argues that "artistic" films do not have to be boring.
  74. The Dark Knight Rises ultimately justifies its length (in fact, a good argument could be made for a longer cut) and the last 45 minutes is nothing short of spectacular. From the point where the narrative takes a leap of faith, it never lets up.
  75. Chilling and creepy, and there's no denying that the most celebrated aspect of the film -- the Clarice/Hannibal connection -- could not have been accomplished with greater skill.
  76. Adams shines brightly, reinforcing the image she projected in Junebug and enhanced in Enchanted and Charlie Wilson's War. At this time of the year, it's tough to find a more diverting way to spend 90 minutes in a multiplex.
  77. Wright is savvy enough to realize that suspense and tension require characters that are more than human figures in a CGI playground. He does just enough with the men and women populating Baby Driver for us to get a sense of who they are.
  78. In the midst of summer's cinematic thunder and lightning, this is a rare moment of tranquility.
  79. Those who go to a Villeneuve production, Sicario included, must be prepared for intense suspense, moral ambiguity, and an ending that doesn't conform to Hollywood norms.
  80. This is a tense, well-crafted motion picture that keeps viewers on edge. It's an exhausting 130 minutes; many viewers will leave the theater feeling drained.
  81. Psycho is a brilliant excursion into fear that pushes many of our primal buttons, but it lacks the story and character complexity of Vertigo and Rear Window.
  82. As written by the brash, funny, and often vulgar comedienne Amy Schumer, Trainwreck is brash, funny, and often vulgar. Its raunchiness is a perfect match for the man who made "The 40-Year-Old Virgin" and "Knocked Up."
  83. Deliciously perverse, delightfully twisty, and unapologetically erotic.
  84. The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.
  85. Several flaws, mostly minor, keep Casino on a plateau slightly below that of the director's best (Mean Streets, Raging Bull, Taxi Driver, Goodfellas).
  86. The stakes of those deliberations are so high, the personalities of the jurors so forceful, and the arguments so pregnant with importance that there is no instance in which boredom threatens.
  87. Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.
  88. There's barely a whiff of melodrama in Chariots of Fire, which makes the film-watching experience all the more effective -- director Hugh Hudson shows respect for the integrity of his material and the intelligence of his audience. The absence of mawkish moments provides the narrative with a genuine quality that supports its factual background.
  89. The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.
  90. Isn't just heartwarming and inspiring, it's a remarkable look at a group of children whose most noteworthy trait is that they are ordinary.
  91. La La Land isn’t just the best made-for-the-screen musical to reach theaters in a very long time, it’s arguably the best (non-animated) cinematic musical of any kind since 1986’s delightful "Little Shop of Horrors." Yes, it’s more vibrant than "Chicago," more heartfelt than "Les Miserables," and more successfully staged than a chorus of other contenders.
  92. Imperfect as it may be, Bowling for Columbine is riveting stuff.
  93. It’s not cinematic fast food. If you want superficial entertainment, Manchester by the Sea will disappoint. This is for those who crave a deeper experience.
  94. Although Barry Jenkins’ film is indeed about the struggles and difficulties of a person embracing his culturally reviled sexuality, the story is universal in scope and intent.
  95. A Bug's Life, like “Toy Story,” develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure.
  96. Although Dunkirk is technically a war film, its tone and style are those of a high-octane thriller. For his most serious-minded film to date, Christopher Nolan has employed all the weapons in his arsenal to craft something that, despite the Oscar-unfriendly July release date, will almost certainly be remembered when the Best Picture nominations are handed out.
  97. Whatever else it may be, Irreversible is disturbingly unforgettable. It is impossible to have a blasé reaction to a film this visceral. Indifference is not an option.
  98. Manages the task of being both heartbreaking and heart-warming.
  99. Kinetic, atmospheric, visually stunning, and mind-bending.
  100. When it comes to tone, Iron Man achieves something at which many of even its most celebrated predecessors have failed: it doesn't FEEL like a superhero movie. Instead, it's bigger and more inclusive.

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