ReelViews' Scores

  • Movies
For 3,192 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 The Departed
Lowest review score: 0 Knock Off
Score distribution:
3192 movie reviews
  1. Williams nails it.
  2. 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.
  3. 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.
  4. At times compelling, at times devastating, and at times long-winded.
  5. 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.
  6. Geared more toward teens, although that won't prevent older viewers with an affinity for romance from appreciating the vibes it gives off.
  7. 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.
  8. For Your Eyes Only is a solid adventure, although it could have been better. There's enough action to hold those with even a short attention span, and Roger Moore's deft charm hasn't yet begun to wear thin.
  9. 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.
  10. 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.
  11. The Astronaut Farmer is one of those movies that makes an audience want to cheer and clap.
  12. One would be hard-pressed to consider The Perfect Storm “triumphant” or “uplifting” but both terms could be used to describe The Finest Hours.
  13. Rarely are the characters as well developed and believable as they are here.
  14. 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.
  15. 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.
  16. 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.
  17. 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."
  18. 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.
  19. 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.
  20. Seems breezier and less self-conscious than the Mike Myers franchise.
  21. If you have to see one penguin movie, this is it.
  22. As Tom Hanks did in "Cast Away," Will Smith pulls off this half-insane role perfectly.
  23. 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.
  24. The problems with 10 Cloverfield Lane result from attempts to tie it, however tenuously, to the earlier movie. Take away the disappointing, disjointed, and anti-climactic final act, and this is an effective white-knuckle psychological thriller.
  25. 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.
  26. 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.
  27. Triple Nine turns out to be a thoroughly entertaining (although violent) thriller.
  28. 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.
  29. Micmacs is an inventive romp punctuated by the kind of quirkiness Jeunet has brought to all his films.
  30. Not since Dr. No has 007 been so cool and ruthless, and never has a plot been this close to realistic plausibility.
  31. The problem with An Inconvenient Truth isn't the message; it's the messenger.
  32. 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.
  33. 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.
  34. 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.
  35. Like the real Eddie’s 1988 Olympic experience, however, the movie’s memory is likely to fade fast.
  36. The Brothers Bloom with satisfy those with a yearning for lighthearted heist tales, comedies, and offbeat romances.
  37. 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.
  38. It's difficult to say whether the main problem with Iron Man 2 is that it suffers from too much plot or too little.
  39. Soul Food stays a cut above the average melodrama by keeping the characters grounded and the situations from becoming too ripe.
  40. 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.
  41. 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.
  42. 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.
  43. Ingrid Goes West is part comedy, part tragedy, part horror/thriller, and part social commentary. Although it is primarily satirical, director/co-writer Matt Spicer never loses sight of the characters.
  44. 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.
  45. 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.
  46. It delivers pretty much what's expected.
  47. 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.
  48. 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.
  49. 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.
  50. This is as pure a narrative-based film as one is likely to find; the men and women populating 6 Days exist primarily to move the story along.
  51. 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.
  52. For those who like the director's body of work, appreciate "The Twilight Zone," and have a high suspension of disbelief threshold, The Village is likely to satisfy.
  53. 70% style and 30% substance. It has a plot and characters, but those are almost beside the point.
  54. This is an unusual source of entertainment.
  55. For a horror movie, Oculus is surprisingly lean on the scares. It's more interested in playing tricks with perception and bending reality.
  56. The film offers everything one could ask for from popcorn entertainment.
  57. This is a brave movie because it addresses a subject Hollywood feels uncomfortable about.
  58. In order to show the "happiness" noted in the title, director Peter Chelsom ventures into some dark territory to provide a contrast. This results in a surprisingly unpleasant scene of torture and deprivation that may shock some viewers expecting to see a lightweight Simon Pegg dramedy about the meaning of joy.
  59. This is “more of the same” but, at least in this case, that’s a good thing.
  60. Finding Dory is enjoyable in its own right, even if its powerful sense of déjà vu keeps it from approaching the pinnacle of the Disney/Pixar collaborations.
  61. This is the best adult holiday film in a while.
  62. Jesus Camp is not a "hatchet job." The filmmakers did not go in with an anti-Christian agenda and use selective editing to prove their point.
  63. Grumpy Old Men works more often than not. It's an example of a frothy, good-natured holiday picture that adults can relax and enjoy. As a comedy, the movie contains enough fresh humor to keep the laughs coming.
  64. Well-made and deserves recognition as one of the year’s best family offerings (thus far).
  65. A respectable caper movie in the tradition of "The Sting" and David Mamet's "Heist."
  66. Although the majority of the movie focuses on the interaction between Mark and Cheryl, there is a third character in the mix. Catholic priest Father Brendan, played by William H. Macy, belongs to a liberal wing of the Church found only in movies.
  67. Ultimately, however, A Dangerous Method is less about the formative years of psychotherapy and two of its progenitors than it is about a rule-breaking extramarital affair.
  68. When it comes to war love stories, The Promise isn’t going to challenge Casablanca. The movie is stronger when presenting the political situation than the romantic one.
  69. Builds up enough good will during its successful first half that we're willing to forgive some of the strange and disappointing convolutions the plot takes us through during the final 45 minutes.
  70. Sure, there's a plot, but it's a secondary element to the lines the actors deliver. Only Oscar Wilde has the same bite. Fortunately, Elliott understands this, which makes Easy Virtue go down smoothly.
  71. As a race-against-time, Jason Bourne-inspired adrenaline cocktail, Criminal offers a couple of hours of popcorn-munching entertainment.
  72. This is a fine motion picture with a couple of superlative performances. It is arguably the best, most honest bio-pic of the year.
  73. Frequently funny and occasionally hilarious.
  74. It delivers what it's expected to deliver, and that's likely to make it a success with anyone who laughed his ass off two summers ago.
  75. This one is a creepy white-knuckle excursion into horror, where even the "boo!" moments are so well developed that they cause a jolt.
  76. For those who aren't offended by extreme profanity and violence, Suicide Kings offers a kinetic and surprisingly funny two hours.
  77. Palo Alto may not be the most exciting film about high school life to come along in the past few years, but it is among the most honest and words like "pandering" and "insulting" don't apply.
  78. A fast-paced, engaging science fiction adventure tale.
  79. Although the moral ambiguity of Straw Dogs has been softened in the remake, the message and the forceful way in which it is delivered remain the same.
  80. K-19 will not go down in the annals of cinema as one of the great submarine stories, but it is an engaging and exciting narrative of Man confronting the Demons of his own fear and paranoia.
  81. Jim Carrey re-invents Horton much as Robin Williams did with the Genie of the Lamp in Disney's animated "Aladdin."
  82. There's an almost poetic quality to the way things develop, with characters becoming increasingly introspective.
  83. Death at a Funeral does what a good comedy is supposed to do: generate laughter. The humor gradient is lopsided - the second half, which builds comedic momentum, is significantly funnier than the first half, which is mostly set-up. Still, any such unevenness aside, the overall impression is one of enjoyability.
  84. It's rare for homosexuals in mainstream motion pictures to be presented as individuals rather than icons; Love! Valour! Compassion! defies tradition by proffering its characters as real people with believable problems.
  85. Max
    Scholars, psychologists, and theologians can debate the point at length, but there's no doubt that Meyjes' approach is as provocative as it is controversial.
  86. Taken as little more than six disconnected shorts featuring the same group of players in different roles, Cloud Atlas works. It's entertaining and the manner in which it has been edited reduces one's tendency to lose patience with the less engaging stories.
  87. Steve Carell's portrayal of Max is just about perfect for the material.
  88. Although the narrative for Their Finest occasionally rambles (too much time is spent buffing Ambrose’s backstory, which is only tangentially germane to the main tale), it is by-and-large a stirring drama that incorporates lighter moments with scenes of deeply felt tragedy.
  89. An engaging romantic comedy that would have been better if the audience wasn't constantly being distracted by mediocre video quality and jerky camera movements.
  90. White Squall is a success because the good elements are so well-orchestrated that they dwarf the few obvious flaws. This film offers just about everything, including a twenty-minute white-knuckle sequence and a chance to shed a few tears. In short, it's first-rate entertainment.
  91. Regardless of who sees or doesn't see Dallas Buyers Club, however, the movie does what it sets out to do by providing a striking portrait of a remarkable character and offering a history lesson to those too young to remember how things were for AIDS sufferers during the dark ages of the 1980s.
  92. Doesn't come close to masterpiece status. There are some great individual scenes and a tremendous performance by Daniel Day-Lewis, but the connecting material is mediocre, leading to the occasional twinge of dissatisfaction.
  93. Pig in the City has been designed with the goal of recapturing the enchanting feel of the original while taking the story in new and different directions. It succeeds at both aims, standing as a worthy sequel to one of the decade's most innovative family features.
  94. The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.
  95. Ted
    Ted is essentially a one-joke movie. Okay, it's a very funny joke, but it's still only one joke.
  96. It may not be frivolously engaging but it is compelling.
  97. The 30-minute finale, which includes a tense stand-off with Ben's gang, is masterfully executed. It's perfectly paced, suspenseful, and ends in a way that's both appropriate and satisfying.
  98. Nicely paced and fits the bill for those in search of two hours of spy-based action and martial arts. The movie has credibility issues, but none are insurmountable in the name of entertainment.
  99. It's a taught, entertaining motion picture that serves its purpose.
  100. As ghost stories go, this one is handled with great subtlety and delicacy.

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