ReelViews' Scores

  • Movies
For 2,936 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Dark Knight
Lowest review score: 0 Captivity
Score distribution:
2936 movie reviews
  1. Overall, it's a story of triumph and adventure - of oppression ended and freedom begun.
  2. This is as anti-Hollywood a film as I have seen in recent months, one which takes conventional plot ideas and uses them not to season a melodrama, but to enrich fully three-dimensional characters and create a forceful motion picture.
  3. With its rare mixture of intelligent plotting, flawless acting, and start-to- finish tension, Copycat is a force to be reckoned with.
  4. Nebraska is a rambling affair. It's about characters and dialogue. There's not much of a narrative to speak of - this is even more minimalist than "About Schmidt" or "Sideways."
  5. As is often the case with European films, the acting is superlative...The real standout, however, is newcomer Jaye Davidson, whose performance is, without exaggeration, stunning...Not to be missed.
  6. It's a noteworthy achievement for director Damien Chazelle to infuse a tale about the development of a musician with all the tension and intensity of a top-notch thriller. Whiplash is riveting.
  7. Good, solid entertainment.
  8. Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.
  9. Cinematic magic.
  10. The Wings of the Dove is not a happy tale, but it is a vivid and unforgettable one, featuring multi- dimensional characters, beautiful cinematography, impressive set design, and accomplished acting.
  11. Despite the grim, serious nature of the subject matter, Meirelles unearths occasional moments of humor, although they are often of the gallows variety.
  12. The screenplay is written with a thinking audience in mind, the dialogue sparkles, the characters leap off the screen in full three-dimensionality, and the cliches are kept to a bare minimum.
  13. This enigmatic and in some ways maddening motion picture has the power to haunt every viewer it reaches.
  14. You don't have to be Catholic, or Irish, or even American, to "get it." Burns' language, despite originating on Long Island, is universal in appeal and meaning.
  15. One of the reasons that Quiz Show is so extraordinary is because it spins a story as compelling on the personal level as on the national one.
  16. Not since "The Crying Game" has Jordan crafted as compelling a motion picture.
  17. Using gallows humor, likable protagonists, and a variety of nonstandard filmmaking techniques (like having characters address the audience directly), McKay maintains a high level of energy for more than two hours and dares us to become bored.
  18. This is most definitely NOT a date movie. But if you appreciate films that are more substance than style, that take challenges and don't follow formulas, and that feature Oscar-caliber performances, Closer is not to be missed.
  19. For those who enjoy the offbeat, The City of Lost Children is worth taking the time and effort to find.
  20. Caused a major stir with Sundance, and for good reason -- it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there.
  21. Tells a good, intelligent story that keeps us interested and involved.
  22. Cinderella is a wonderfully realized family feature that retains the strengths of its source material while at the same time updating it for today's audiences.
  23. Coogler provides enough rousing moments to get the adrenaline pumping - there are times when the urge to jump up and cheer is almost too strong to resist. But there's more to Creed and it is elevated by the quiet, subtle elements.
  24. It's an uncompromising movie that illustrates one of the most convincing personality transformations that I have seen in a recent motion picture.
  25. Deep Water is a documentary, but it's also one part adventure film, one part Greek tragedy, and one part meditation on the role of the "hero" in modern society.
  26. The best film of The Hobbit's three, this final installment is closer in quality to "The Lord of the Rings" than to its immediate predecessors.
  27. In the end, however, the genius behind all the innovations of Bletchley was destroyed by the pettiness of a society that didn't understand him. The Imitation Game doesn't hide this dark aspect and it makes the production sobering and engrossing.
  28. Consistently hits the right notes, earning both the tears and smiles that result.
  29. Not a typical Disney family film -- thank god. Charming and thought-provoking, this is the kind of movie with the sweetness necessary to appeal to younger (although not too young) viewers and the philosophical richness to draw in veteran movie-goers.
  30. At an economical 94 minutes, Rabbit-Proof Fence trims all the fat and tells its heartfelt and stirring story. This is one of 2002's most memorable imports.
  31. Eye in the Sky reminded me of "United 93" - not necessarily in terms of the subject matter but because of the apolitical, clear-headed manner in which it approaches an act.
  32. Knocked Up could be one of the summer of 2007's sleeper hits. It certainly deserves the distinction.
  33. Pump Up the Volume, in addition to presenting an engaging story, has tapped into a universal truth about rebels with causes.
  34. Takes the traditional romantic comedy and tweaks it by way of "The War of the Roses." Rarely has strife between the sexes been so ruthless, so civilized, and so funny.
  35. The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.
  36. Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.
  37. There's nothing new or unique about the story, but it is presented in a manner that reinforces its immediacy and impact.
  38. Easily the best non-Disney animated movie in recent memory, and it is good enough to rival such titles as “The Lion King” and “Aladdin.”
  39. Isn't just fine family entertainment, it's superior family entertainment.
  40. This is a superior motion picture -- an example of the pleasant surprise that can result when a skilled director departs from his usual style. By daring to be honest and unsparing, The Son's Room is meaningful.
  41. Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.
  42. Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.
  43. The best of the trio of human performers is Naomi Watts. She also has the most difficult job - not only is the role physical, but it requires her to play off something that isn't there.
  44. Gone Baby Gone is powerful stuff - a movie that derives its plot twists from moral conundrums rather than from narrative sleight of hand.
  45. In the end, this is more a character study of Jenny than a tale of tortured love, and a reminder that any education worth having comes with its share of trauma.
  46. A movie that takes the hallmarks of a great career and elevates them to new heights. In terms of tone, visual beauty, and storytelling, The Wind Rises represents Miyazaki at the apex of his abilities.
  47. Howard and Morgan have transformed this story into something more than an embellished re-telling of recent history. They have shaped a tragedy that is almost Shakespearean in force.
  48. Randy Newman's songs are catchy and are effective within the movie's context, but I can't see any of them having "legs" beyond the screen the way tunes from the earlier animated musicals did.
  49. It's a compelling tale that offers the opportunity for reflection and discussion about issues that have never really gone away and continue to lurk in the cultural background.
  50. This is one of the year's most unabashed and powerful love stories, using flawless performances, intelligent dialogue, crisp camera work, and loaded glances to attain a level of eroticism and emotional connection that many similar films miss.
  51. It is a mystery and a courtroom drama. Above all, however, it is a tale of love and sacrifice.
  52. It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.
  53. The result is a sharp, insightful, charming motion picture.
  54. A smart movie that does not simplify or candy-coat the rigors of the teenage years.
  55. Whitmore's Brooks is a brilliantly-realized character, and the scenes with him attempting to cope with life outside of Shawshank represents one of the film's most moving -- and effective -- sequences.
  56. This is the kind of charming motion picture that can be viewed repeatedly without ever wearing out its welcome. With several triumphant musical numbers, an original villain, a smart and witty script, a cute romance, and a new, upbeat ending, this Little Shop of Horrors offers countless delights during its 94-minute running time.
  57. A compelling, thought-provoking, and unsettling drama.
  58. One of the best thrillers I have seen this year: tight, taut, and unpredictable.
  59. Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.
  60. Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.
  61. Everything (not just the flesh) is vibrant with life.
  62. Unlike in many character studies, the plot is more than just a simple framework. It is complex and unpredictable, and, as a result, provides the perfect means to better get to know the characters and understand the shifting nature of their relationship.
  63. Ultimately an uplifting movie because it is about triumph.
  64. As always, the voice casting is perfect. Throw in a moral, and some nice touches of technical accuracy (that fish keepers will appreciate), and the movie represents the best family film to-date of 2003.
  65. For those who have the patience to become absorbed in this kind of drama, Vera Drake offers a stunningly real character portrait whose image will linger long after the movie has faded.
  66. V for Vendetta represents 2006's first memorable motion picture - a visually sumptuous concoction that combines political allegory, bloody action, and a few stunning cinematic moments into a solid piece of entertainment.
  67. This is unlike any other film I have seen... it's a great romance. It's willingness to flout conventions and eschew formulas is just one of many things to celebrate about this charmingly eccentric movie.
  68. The narrative is presented in a straightforward manner; Soderbergh doesn't employ any unusual chronologies. His style is frank, not quirky, and lends itself to a number of powerful images.
  69. he Celebration rips apart the placid facade of a familiar subject, leaving its audience stunned. As difficult as the film can at times be, the patient viewer will be rewarded.
  70. Fincher eschews quick cuts in favor of long, leisurely ones. He knows what he's doing, and the proof is in the result. The suspense in Panic Room never ebbs, and that makes for a thoroughly entertaining -- if somewhat exhausting -- 108 minutes.
  71. Fatoumata Coulibaly's peformance is striking. She plays her character with a mixture of determination and compassion.
  72. Typically, movies aimed at teenage audiences have little concern for things like intelligent scripts, credible characters, and meaningful dialogue. Better Luck Tomorrow contains all three, making it a hugely rewarding experience.
  73. It's a dark and revealing movie, and, while the ending may not be upbeat enough for those expecting mainstream fare, it offers a measure of hope and a catharsis.
  74. Pride will get viewers cheering while reflecting upon how far we have come in 30 years… and how far we have yet to go.
  75. Director Stephen Daldry has fashioned an emotionally powerful cinematic testimony about that horrific late summer day.
  76. It's an ingenious premise that first-time director Jan De Bont has turned into a tremendously well-executed motion picture.
  77. Parts of Ruby Sparks are glowing and gentle. Others are harsh. Still others are wrenching. The transitions are expertly handled, never seeming jarring or inappropriate. If the movie feels like two shorter pieces grafted at the middle, that's an intentional decision. The filmmakers give us something approaching a traditional romantic comedy before deconstructing it.
  78. One hell of a ride. For better or for worse, it will leave you stunned and reeling.
  79. Gone Girl is a rare movie: a delicious thriller that provides plenty of titillation and gruesome pleasure while offering a dollop of social commentary. It's smart, twisted, bloody, and almost guaranteed to satisfy anyone with a penchant for the macabre.
  80. Mulan effortlessly blends serious, comic, and cute elements into a whole that should entertain the majority of movie-goers, regardless of race, gender, or age.
  81. Despite an occasional narrative hiccup, this is a rich and moving motion picture.
  82. Almodovar also manages to conclude the film on a hopeful note, and one that will have many audience members wishing that he will someday return to tell more about these characters.
  83. Affliction is for anyone willing to take the journey into the heart and soul of a troubled man on the edge.
  84. What starts out as a seemingly-routine excursion into genre clichés emerges into a more complex and satisfying arena than most viewers will anticipate.
  85. It is a rich and challenging motion picture that both affirms life and emphasizes its fragility. Eastwood touches our hearts and energizes our minds without resorting to overt manipulation.
  86. It has the audacity that “Primary Colors” should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that “Primary Colors” was nervous about doing.
  87. Ultimately, this is an engaging, uplifting, and life-affirming motion picture that reminds viewers that it is possible to do interesting things with a romantic comedy while still sticking to some of the conventions.
  88. Menace II Society has a devastating impact. Few films possess the power to keep an audience sitting in stunned silence after the end credits begin rolling, but this is one of them.
  89. What Selma does so well is to bring to life the events of 1965, especially "Bloody Sunday" (the first march). It's one thing to read about these moments in a history book but another altogether to see them on the screen. The movie is riveting.
  90. The pervasive aura of creepiness more than compensates for the low body count and inventive use of sharp instrumentation.
  91. The computer-generated effects are a marvel. It's something of a bonus that the characters, dialogue, and story provide entertainment value of their own.
  92. Not a masterpiece, but it's an example of how imagination, craftsmanship, and technological bravura can fashion superior entertainment out of something that is far from flawless.
  93. Revolutionary Road is a fine motion picture, but it's not a good choice to lighten a burden or brighten a night. It rewards in the ways that only tragedies can.
  94. This is an offering for mature viewers thrown out amidst a sea of summer flotsam. The title, Elegy, is perfect for the material. There is much tragedy and truth in what the makers of this movie have brought to the screen.
  95. The action scenes are, for the most part, kinetic and exciting - things that have rarely been true of fights and chases in the superhero's previous incarnations.
  96. From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights.
  97. The kind of daring feature that doesn't open every Friday at the local multiplex; its frank, sometimes politically incorrect approach towards the act and politics of sex is refreshing.
  98. With Deliver Us from Evil, Berg has been uncompromising in the picture she paints. She pulls no punches and makes no apologies.
  99. The acting is uniformly excellent. For the roles of Ashoke and Ashima, Nair has employed prolific Bollywood stars Tabu and Irfan Khan, both of whom give performances of great range and empathy.
  100. An engrossing examination of the elemental forces that define human nature.

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