ReelViews' Scores

  • Movies
For 3,217 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 Like Father, Like Son
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
3217 movie reviews
  1. While Ernie's on-field accomplishments were extraordinary, it was the environment in which he struggled to achieve them that makes him the worthy subject of a motion picture.
  2. It's an unsettling piece that reminds us how even monsters aspire to living the American dream.
  3. Sully proves to be by turns engaging, exhilarating, and nail-biting.
  4. When a director can take a reprehensible monster and, over the course of a scant 90 minutes, turn audience reaction from distaste to sympathy, that's the mark of an adept filmmaker. This occurs in Tsotsi.
  5. In terms of overall visceral impact, The Foreigner is perhaps not as satisfying as a John Wick or the aforementioned Payback because it’s a more serious, complex movie. Nevertheless, it’s well-made, nicely paced and accomplishes what we expect from this sort of film.
  6. Enjoyable for a movie in which pretty much nothing happens.
  7. The film's emotional truth and honesty allows us to forgive a great many flaws.
  8. There’s more to this movie than offering fans an opportunity to wallow in the past. It gives the most complete portrait we’ve seen thus far of Nimoy, warts and all, as presented by the man who came the closest to knowing him.
  9. The two best words to describe the 2006 motion picture Miami Vice are "stylish" and "intense."
  10. By the time September arrives, This is the End will probably be in the running for "funniest comedy of the 2013 summer."
  11. This isn't vintage De Niro but at least there's more substance here than in a lot of his other recent projects. Michelle Pfeiffer, who flirted with this sort of a role 25 years ago in "Married to the Mob," is enjoying something of a renaissance after working only sparingly for more than a decade.
  12. A rare remake in that it's sufficiently different in the details to make it of interest to those familiar to the earlier endeavor.
  13. Tomas Alfredson's Tinker Tailor Soldier Spy may be the best possible movie version of the story, but it illustrates that the big screen is not the ideal medium for a tale of this complexity.
  14. A curious mix of smarts and schmaltz.
  15. Although the storyline is predictable, the intelligent dialogue and top-drawer acting more than make up for the possible deficiency.
  16. The comedy in The Sure Thing is genial and unforced. Most of it develops organically out of the characters and their situations. It doesn't grate and it doesn't interfere with the evolution of the central relationship, and it's effective enough to provoke the occasional laugh or smile.
  17. One of the better offerings to be found in a year that has seen a drop-off in the quality of animated films.
  18. For Your Consideration will not go down as one of Guest's crown jewels, but it's nevertheless engaging.
  19. Broken Arrow is "Speed" gone nuclear. Yet, despite all the explosions, violence, special effects, and other choreographed excesses, this film doesn't have quite the same impact. It's fun, to be sure, and the wild ride doesn't let up for a moment, but the level of tension isn't quite as high.
  20. A Game of Shadows is a stronger, better realized movie that builds upon the strengths of the original and jettisons some of the weaknesses.
  21. The movie's realistic portrayal of the ingredients that can lead to bullying and other forms of unkindness inflicted on outsiders by those in power, speaks strongly to viewers watching in the 21st century.
  22. Works uncommonly well because of the effective manner in which it blends together its various elements: the WW2 prison camp setting, the courtroom aspects, and the issues of honor, racism, and redemption.
  23. Rise of the Guardians is enjoyable as a stand-alone adventure - not groundbreaking animation but a solidly entertaining 90 minutes for older children and adults.
  24. A rich, multi- layered portrait of a director from Hollywood's Golden Age whose own life was as interesting as any of his movies.
  25. For those with the patience to sit through this kind of unhurried motion picture, Time Out offers a compelling character study of an individual under the kind of strain we can all relate to.
  26. This film offers a compelling scenario of what could have happened. And Burger's look back through the recent mists of time is certainly no less likely or fascinating that Oliver Stone's in "JFK."
  27. Blue Jasmine is an exercise in examining the lead character's mental degeneration. The end result, a performance-driven character study, offers an experience more akin to what one might expect from the late John Cassavetes than from the still very much alive Woody Allen.
  28. Overall this is a compelling and sometimes disturbing motion picture.
  29. Hawke has made this movie his way and the result is a story that is by turns romantic and disquieting. It's well worth the price of admission.
  30. A compelling piece of cinema.
  31. In many ways, the concept underlying Lolita is more provocative than the actual material, which tends to be a bit long-winded. This is more the fault of the book than of Lyne's approach.
  32. The transformation sequences on their own are disturbing enough to upset sensitive viewers (even though the first one doesn't occur until an hour into the 97 minute film, making the first two-thirds of the movie relatively tame, with the exception of a few appearances by Jack, who looks like a "walking meatloaf").
  33. Gordon-Levitt wears three hats (director, writer, actor) and all of them fit.
  34. Although competently made and consistently engaging, there's nothing special about this animated superhero origin story.
  35. From an historical perspective, the story is interesting because it shows a different side of the war than what we're used to observing in motion pictures.
  36. Monsters works not because of its representation of alien creatures or its somewhat derivative back story but because of the atypical manner in which it approaches the character-based narrative.
  37. First time director Jonathan Frakes (who also plays Riker, the Enterprise's second-in-command) injects some badly-needed energy and inventiveness into a series that, prior to this effort, was sinking under its own weight and boldly going nowhere.
  38. The Governess is solidly entertaining material with enough substance to lift it above the traditional period drama.
  39. For the most part, Laggies offers an engaging portal into the life of an appealingly confused 28-year old who doesn't have all the answers and isn't afraid to admit it. Coming-of-age stories, it seems, needn't be limited to teenagers.
  40. It has two modes: dark and darker, and dares to do some things with the Christmas motif that haven't been done since Norman Rene's "Reckless."
  41. For an American/international audience, perhaps the most important contribution provided by In This Corner of the World is one of perspective.
  42. Arbitrage is actually a fairly straightforward thriller in the John Grisham vein. It doesn't demand that the viewer know the difference between a hedge fund and a hedgehog. Arbitrage also reminds us that thrillers do not have to be action-packed to generate tension.
  43. Formula One fans who remember 1976 will no doubt delight in the film but, for those who (like me) were more interested in other things during the year of America's bicentennial, it's not only a good lesson in sports history but an entertaining two hours to spend in a theater.
  44. While this is certainly not the first motion picture to blend drawn creations with real life actors, no movie to date has approached it quite this way.
  45. Hellboy likely won't be the best comic-to-screen adaptation this year, but, squared off against its early-season challenger, Marvel's "The Punisher," this is the winner.
  46. For a movie that features so much naked flesh, it’s surprising how thoroughly un-erotic Nymphomaniac is. If intent is a defining characteristic of pornography, then this could be described as “anti-porn.”
  47. A fascinating portrait not only of a lady, but of the society and marriage that entrap, then attempt to destroy, her.
  48. The strengths of The Underneath -- its atmosphere and character-centered basis -- are also its weaknesses.
  49. After the Sunset is a mess, but it's a breezy, fun mess.
  50. The result, while at times a little too visually chaotic, is bracing.
  51. Haggis' dialogue is virtually without clunkers, and it is delivered with the appropriate weight by a solid cast. Braff's limp performance is countered by Barrett's emotional riveting one (although he's in more scenes than she is).
  52. Rogue One is a better movie than The Force Awakens - something that elevates it considerably over its “secondary” designation.
  53. Dogville isn't for everyone, but there's some intellectually stimulating conversation fodder for those with the patience to navigate the film's rough terrain.
  54. Isn't an especially good horror movie, it succeeds in enough different ways that such a defect hardly matters.
  55. The violence has the straightforward, unflinching characteristic evident in "Reservoir Dogs" and "Pulp Fiction," although Yakin's dialogue falls considerably short of Tarantino's, both in terms of substance and offbeat humor.
  56. Easy isn't much of an acting challenge, but Washington's mix of charm and intensity creates an appealing personae.
  57. An appealing, offbeat, one-hundred minute diversion for those who really are tired of monsters tearing down buildings and action heroes saving the world.
  58. There is an audience out there for slower, more intellectual thrillers. This is a motion picture for them to discover.
  59. A low-key holiday drama that's refreshing not only because it lacks the big discovery melodrama of most similar movies but because it's entirely believable.
  60. Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.
  61. With its combination of intrigue, romance, and adventure set against a World War II backdrop, the movie has an undeniable appeal. Flaws aside, Enigma is engaging and ambitious.
  62. The production company is Hammer Films, a venerable name in British horror. Responsible for some of the best monster movies of the '50s and '60s, when Peter Cushing and Christopher Lee were a favorite team, Hammer has endured over the years. Now, as then, the Hammer name is an assurance that terror, not soulless special effects, lies at the heart of the production. The Woman in Black bears this out.
  63. The result is an involving experience for all but the most fidgety children and an opportunity for parents to enjoy (rather than endure) a motion picture with their offspring.
  64. Well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result.
  65. Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.
  66. An emotionally rewarding experience: strong performances from leads Henry Hooper and Mia Wasikowska and a tender love story conveyed with genuine feeling.
  67. An enjoyable, although not ambitious, holiday outing.
  68. American Hustle runs a little long with the strongest scenes occurring toward the end. Although the actors don't put on a clinic, they all provide worthwhile performances playing interesting characters, and there's a nice cameo thrown into the mix.
  69. Taken as a whole, Freakonomics feels almost like an extended episode of 60 Minutes with a lot of childish animation and some awkward connecting sequences.
  70. The best part of the film, unsurprisingly, is William H. Macy's low-key portrayal of Bernie.
  71. The movie often feels more like film noir than a war picture both in the way it is shot and in the manner in which the characters are handled.
  72. A courtroom drama which is sufficiently different and thought-provoking that I can recommend it with a clear conscience.
  73. The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.
  74. Infectiously entertaining comedy.
  75. There’s a lot here for kids to like and nearly as much to keep parents from fidgeting.
  76. The Uninvited is a flawed production, but gratifying in the way it delivers. The interesting and unique elements of the movie effectively compensate for the formulaic way in which the plot develops.
  77. Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.
  78. In fact, this is one of the best pure disaster movies ever made (not that it has much competition). Congratulations to director Mick Jackson for a job well done.
  79. While these may not be the most unusual themes to fashion into a motion picture, Rudolph's atypical approach to the characters and their situations makes for an intriguing, if not always pleasant, movie.
  80. Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.
  81. If there's a serious disappointment, it's the villain. Ma-Ma, despite being played with over-the-top zest by Lena Headey, isn't a very impressive foil for the mighty Judge Dredd, even when she calls for "back-up."
  82. Although imperfect, it's engaging, thought-provoking stuff.
  83. Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.
  84. Ends up being one of the end-year's best sources of pure entertainment. And for those who believe laughter is the best medicine, there's more than a bellyful or two to be found here.
  85. It's a movie of moments, some of which are side-splittingly funny. Arguably, this is the most uproarious comedy that Allen has ever done.
  86. A scathing satire of conspicuous consumption and a fashion-obsessed culture, Absolutely Fabulous - The Movie hits most of its targets and twists the knife but, as funny as the material sometimes is, the flimsy narrative and threadbare caricatures encounter difficulties trying to sustain a 90 minute motion picture.
  87. Ana is a vivid, vibrant individual and the movie's focus upon her makes it successful and accessible.
  88. I recommend the movie both for Nicholson's performance and for the opportunity to spend some time with the kind of man that we often meet in real life, but rarely see on screen.
  89. The Muppets is a rare family film likely to appeal more to parents than to their offspring.
  90. Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time.
  91. Designed primarily for those who are intrigued by theater, curious about Welles, or some combination of both.
  92. A crowd-pleaser.
  93. Solitary Man gives Douglas a chance to act, not merely posture or show off for the camera. It's some of the finest, least forced work he has done in years.
  94. As simple and straightforward a movie as one is likely to find in theaters today.
  95. Although the comic book tropes are all in place, the acting, tone, and visual effects keep them from becoming tedious. This is yet another solid building block in the foundation to Marvel’s ever-expanding superhero fortress.
  96. The strong final third counterbalances the weaknesses of the first half. I prefer films that build to something worthwhile rather than collapse short of the finish line.
  97. The critical question for the movies' producers is whether Harry will be as popular now that his legions of stalwarts know how it all ends. The smart money would be on answering that question with a resounding "yes!"
  98. This is a fascinating story of determination and survival that deserves to be told. It is ultimately uplifting but it's tough going to get to that point.
  99. Hacksaw Ridge embraces many of the clichés of the war movie but, instead of laying them out in a rote fashion, the film synthesizes them into a visceral, ultimately inspirational result. This is about heroism, patriotism, and an adherence to convictions.
  100. Meet the Robinsons is a fast paced, high energy offering; it passes by in a breeze and is enjoyable enough that I'm willing to forgive the two awful songs (one near the beginning, one near the end) and recommend it.

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