ReelViews' Scores

  • Movies
For 2,822 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Untouchables
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,822 movie reviews
  1. As was true for "In the Company of Men," LaBute doesn't care if viewers are offended. Supported by a fine group of actors, he tells the story without compromises, and that gives us a refreshing alternative to multiplex fare.
  2. Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.
  3. Ali
    Manages to entertain, even though it stays on the surface. It fails to deliver the hoped-for knockout, but also avoids the pitfall of an early-round collapse. While not attaining the greatness of its subject, it rises to a level somewhere above mediocrity.
  4. Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.
  5. A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.
  6. There's a lot of fun to be had in watching The World's End and, surprisingly, more thematic depth than one might expect. The humor, true to its British roots, may baffle some Americans but those who "get" it will laugh quite a bit.
  7. For what it is, Assault on Precinct 13 delivers. It's not great art, but, for B-movie fans and those looking for a mid-winter jolt of energy, it's good fun.
  8. An enjoyable experience.
  9. The Bourne Ultimatum provides a lot more suspense and tension than "Transformers" could hope for.
  10. Despite being overlong, Blackhat is mostly engaging. The narrative features one major change of direction and things get increasingly preposterous as the climax approaches, but that's not unusual in this genre.
  11. Gerwig transforms the ordinary screenplay into something that is by turns charming, touching, and funny.
  12. Although the forced ending, which seems deigned to create an unnatural moment of triumph, weakens the climactic catharsis, it doesn't diminish the naked honesty which forms the foundation of Dolores Claiborne.
  13. As biographical crime thrillers go, Killer Instinct is a worthy entry to the genre, although the incompleteness of the story makes it difficult to evaluate on its own. The movie needs to be seen in the context of a greater whole for it to be fully appreciated.
  14. On balance, it's a good movie but not a great one. Probably the only reason it's getting North American distribution is because of the involvement of Liam Neeson.
  15. It tells its own story and, unlike with "Thor 2" and "Iron Man 3," we don't feel the absence of the rest of the team.
  16. There is a wealth of authenticity in the feel of the movie, as if Levine and/or his writer have endured some of this stuff.
  17. A curious mix of the campy and the intelligent, of high concept and low psychology. In spite of these contradictions, or perhaps because of them, it works. This is a tense and engaging thriller.
  18. It falls short of brilliant but it's a lot more daring than what passes for "dark comedy" these days, and it reminds us that "feel bad" comedies may not always be as funny as "feel good" ones but, when they work, they can ultimately be more satisfying.
  19. To be savored for its unhurried approach and simple fish-out-of-water story that favors individual character-driven moments over dramatic plot developments.
  20. For the most part, this is a memorable portrayal of a woman who doggedly pursued, and died for, an ideal.
  21. Regardless of how you look at Oldboy, it's unlike anything you are likely to have seen before.
  22. Into the Storm is as straightforward a disaster film as you're likely to find.
  23. This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.
  24. The Adventures of Priscilla, Queen of the Desert is about the most fun you can have with three guys who like to dress up as women.
  25. A case can be made that the movie is so enamored with this aspect of its approach that it fails to connect on an emotional level. Shutter Island addresses some powerful, disturbing concepts but, despite effective performances by the leads, the movie's psychological impact is minimal.
  26. Too many comedies have become routine and predictable - qualities that don't enhance the potential for good laughs. Neighbors retains sufficient spontaneity to give it a fresh, lively feel.
  27. Like "The Apostle," it exists off the beaten path and will not satisfy mainstream viewers. Yet, for those who do not demand a firm adherence to formulas and genre-driven expectations, this movie offers the chance to see something a little different.
  28. What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be.
  29. Visually, X2 is a sight to behold, with impressive special effects and a dynamic sense of place.
  30. Offers two hours of solid entertainment.
  31. A harrowing experience for those to whom this sort of story appeals.
  32. An ordinary story told well. Taken as a whole, there's little that's special about this tale -- it follows a traditional narrative path, leaves the audience with a warm, fuzzy feeling, and never really challenges or surprises us.
  33. This is the most mature animated feature since "Rango."
  34. There's still quite a bit of the essence of "Dead Poets Society" in The Emperor's Club. Thankfully, however, the level of schmaltz and manipulation has been greatly reduced.
  35. Against the backdrop represented by stark images of abandoned buildings and lost dreams, the tale that is City by the Sea emerges, with the power of the visual cues giving this film its forcefulness.
  36. Offers everything a good movie of this sort should: plenty of suspenseful action, a few good laughs, and a share of obligatory "reluctant buddy" bonding.
  37. Jack Ryan: Shadow Recruit provides the best motion picture adventure for the title character since his introduction in "The Hunt for Red October."
  38. Perhaps the best thing that can be said about Thor is that it doesn't feel like a cookie-cutter superhero comic book origin story.
  39. Yet, although Stone has clearly made this motion picture with his tongue planted firmly in his cheek, he nevertheless manages to capture all of the tension and mystery necessary to hold the viewer's interest.
  40. The film will almost certainly speak most strongly to those viewers whose age approximates those of the characters, but the narrative and performances are strong enough to involve anyone who gives this motion picture a chance.
  41. Most war films try to be epic in scope and intent. Lone Survivor opts for a smaller focus and succeeds on its own terms.
  42. Much of what's contained in Phantom is at best speculative and at worst completely made-up. But, regardless of the accuracy, it makes for compelling viewing. Phantom is one of the best films of a lousy early 2013 release roster.
  43. Jose Padilha's Robocop reboot does some of the things a good remake should do: it retains the central ideas and themes of the original while updating and rearranging the narrative to lose a derivative feel.
  44. Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.
  45. "Innovative" is not a legitimate description of The Fugitive, but "entertaining" is.
  46. Pumpkin's two greatest strengths: the majority of the film is original and engaging, and Christina Ricci turns in another fine performance. This pair of assets alone is worth the price of admission.
  47. May be light when it comes to psychological questions, but its detailed accounting of Glass' actions makes for fascinating viewing.
  48. There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.
  49. Hellboy II is solid entertainment, but it's a shame such blemishes prevent it from achieving a higher level.
  50. The core relationship is what makes the movie with this ill-advised title a well-advised choice.
  51. As heist films go, Radford has crafted an engaging, if not especially memorable one, with Flawless.
  52. Crazy Heart is the country music version of "The Wrestler": a grizzled veteran whose days in the spotlight are behind him struggles to keep going while seeing the world through a haze of regret and booze.
  53. While Changing Lanes isn't a perfect movie, it's watchable and compelling, and works on more than one level.
  54. With a cast of characters so large that Robert Altman would feel at home, Big Trouble manages to do a lot of clever little things and generate quite a few big laughs without wearing out its welcome.
  55. As a documentary, this movie has the same problems as all of those in Moore's oeuvre; as a polemic or a visual op-ed piece, it's an effective piece of filmmaking.
  56. It's the depiction of the love and sacrifice of a father for a son that makes Life is Beautiful worthwhile.
  57. August: Osage County is all about the acting. That makes sense because the storyline doesn't offer much that could be considered new or remarkable.
  58. Williams nails it.
  59. A fascinating time capsule: a combination of talking-head interviews, actual footage, and re-creations that evokes a kinder, gentler world and provides insight into one of the most audacious stunts of the 20th century.
  60. Does not surpass Kevin Costner's "Open Range" for the title of Best Western of 2003, but it's a worthy effort and makes for an enjoyable (if slightly overlong) two-plus hours.
  61. At times compelling, at times devastating, and at times long-winded.
  62. As is usually the case with a well made sports movie, you don't have to appreciate the particular sport in order to enjoy the movie. 8 Mile has not been made solely with fans of hip-hop music in mind.
  63. Geared more toward teens, although that won't prevent older viewers with an affinity for romance from appreciating the vibes it gives off.
  64. Voyeurism is a favorite pursuit of Americans, and The Girlfriend Experience works in large part because it indulges that pastime. The fascination with the film is that it offers an arm's-length opportunity to peer through a peephole into a lifestyle that will be exotic and alluring to most in the audience.
  65. Writer/director Bobcat Goldthwait has an ax to grind and, once he's done grinding it, he uses it to split some skulls. God Bless America is many things - audacious, bitingly satirical, unafraid of venturing into uncomfortable territory - but it is never subtle.
  66. In this impressive debut, Solonz doesn't pull any punches in conveying the side of junior high that "The Wonder Years" never depicted: the naked cruelty that some boys and girls suffer at the hands of their classmates, their teachers, and even members of their own family.
  67. The Astronaut Farmer is one of those movies that makes an audience want to cheer and clap.
  68. Rarely are the characters as well developed and believable as they are here.
  69. Above all, however, Kevin Spacey is the reason to see Casino Jack. This movie will stand alongside "The Usual Suspects" and "American Beauty" as examples of what the actor is capable of accomplishing when he is properly motivated.
  70. The film is constructed in such a way that suspension of disbelief isn't too hard because there's something universal in what Allen explores. Like Santa Claus, we know it's not real but the idea is so appealing that we go along with the fantasy.
  71. Moneyball comes to life when elaborating on Beane's unique system of player selection, and the on-field baseball action is at times electrifying, but it trends toward the generic when tailing him away from the stadium.
  72. By limiting the number of special effects shots and treating the film more like a horror movie than a science fiction spectacle, Shyamalan creates a claustrophobic atmosphere and keeps the tension level high. There were times during this film when I was strongly reminded of "Panic Room."
  73. The movie's action largely takes place beneath the skin. The pace is slow but not glacial, yet Claudel demands patience. Ultimately, I've Loved You So Long is uplifting, although one might not expect that from the thematic material.
  74. Petersen takes what could have been a muddled motion picture and structures it perfectly, creating a strong piece of entertainment. It helps, of course, that he has a capable cast.
  75. Seems breezier and less self-conscious than the Mike Myers franchise.
  76. If you have to see one penguin movie, this is it.
  77. As Tom Hanks did in "Cast Away," Will Smith pulls off this half-insane role perfectly.
  78. The Virginity Hit is fresh, unpretentious fun, but the comedy is so raw that it will appeal only to those who appreciate this sort of unfiltered peek into the mind of males in their late teens and early twenties.
  79. The movie does what all good thrillers should do -- provide enough shocks and surprises to keep us guessing, and never lets up on the suspense until the end credits arrive.
  80. Director Anton Fuqua has jettisoned almost everything related to the TV series except the title, the main character's name, and the bare-bones premise. Even the theme song is gone. For all intents and purposes, The Equalizer isn't so much a reboot as it is an entirely new entity.
  81. At times, the movie gets bogged down in minutia but the emotions evoked and captured are as honest and brutal as one is likely to find on film.
  82. Micmacs is an inventive romp punctuated by the kind of quirkiness Jeunet has brought to all his films.
  83. The problem with An Inconvenient Truth isn't the message; it's the messenger.
  84. When it comes to Christmas movies, although most are quickly forgotten, a select few go on to become touchstones, beloved and re-watched by families year after year after year. Arthur Christmas may have what it takes to join the latter category.
  85. Mamet illustrates that he can work as capably from someone else's script as he can from his own, and that his talent as a director is not eclipsed by his ability as a writer.
  86. Jolie's account is mostly accurate but coldly clinical. The story is effective in relaying Zamperini's narrative but lacks both the gut punch one often gets from prisoner-of-war narratives and the full catharsis one expects at the end.
  87. The Brothers Bloom with satisfy those with a yearning for lighthearted heist tales, comedies, and offbeat romances.
  88. Although Harry Potter and the Prisoner of Azkaban stands well enough on its own, it has a "middle chapter" feeling. In other words, there's no real beginning or ending. Little is resolved and the film's climax is low-key.
  89. It's difficult to say whether the main problem with Iron Man 2 is that it suffers from too much plot or too little.
  90. Soul Food stays a cut above the average melodrama by keeping the characters grounded and the situations from becoming too ripe.
  91. Writer/director Jeremy Leven takes pleasure in clouding the division between what's real and what isn't, but he never stretches matters to such an extreme that Don Juan DeMarco is reduced to a mindless farce.
  92. With top-notch animation, effective voice casting, and a screenplay that falters only toward the end when faced with the need to provide a resolution, The Boxtrolls offers solid entertainment for older children and the parents that accompany them.
  93. The Reader is closer to a near miss than a rousing success but, on balance, this is still worth seeing for those who enjoy complexity and moral ambiguity within the context of a melodrama.
  94. It's a thrill-a-minute ride that concludes with a whimper, like a roller-coaster that has all the drops and twists early. Make no mistake, this is a good source of early summer fun, but with a little extra imagination, it could have been a whole lot more.
  95. The film's ending is a little unanticipated, and, although there are a few too many surprise revelations in the last 20 minutes, they all work reasonably well to enhance, rather than diminish, the central theme.
  96. It delivers pretty much what's expected.
  97. The fact that Reign of Fire does what it sets out to do is a cause for celebration amongst those who like special effects-laden action movies featuring fire-breathing monsters and mayhem.
  98. There's something delightfully old-fashioned about Steven Soderbergh's Side Effects. It's the kind of thriller that Alfred Hitchcock might make if he was still alive and active today.
  99. The script doesn't do a great job with either the spiritual or the physical trek, but the spectacular action sequences occur with enough regularity that strong writing isn't necessary to keep Waterworld afloat.
  100. Hereafter is a fascinating, absorbing motion picture, but will work only for those willing to surrender to the story as it unspools at its own deliberate rate.

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