ReelViews' Scores

  • Movies
For 2,813 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Apollo 13
Lowest review score: 0 Feast
Score distribution:
2,813 movie reviews
  1. Despite the many laughs Love and Death offers, it never takes cheap shots. It has a vibrant, beating heart - and that makes the comedy all the more worthwhile.
  2. Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.
  3. There's something to be said for the power of a classic, even if it has been given an imperfect makeover.
  4. Holofcener has an ear for dialogue, and, as is often the case with the best character- centered films, a chief pleasure is simply enjoying what the participants have to say to one another.
  5. The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.
  6. The biggest weakness of the novel is characterization, and the same flaw is fully evident in the screen adaptation.
  7. For two-thirds of its running length, Zack and Miri is vintage Smith - profane humor that knows no boundaries and obeys no rules. What's most amazing about Smith's barrage of hard-R jokes isn't the range of subjects he covers, but how few of them "miss."
  8. Doesn't have any pretensions. It is what it sets out to be: an effective piece of big money, early summer entertainment designed to blow viewers away.
  9. It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.
  10. With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range.
  11. A bloody fairy tale with no moral and a lot of juice.
  12. There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.
  13. The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.
  14. Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.
  15. Liberal Arts is a parfait - a light, enjoyable concoction that goes down easily but doesn't linger. The movie is great "in the moment" but may be difficult to recall with any specificity after time has elapsed.
  16. Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.
  17. Because of the dominance of the central figure and the way in which The Cruise has been assembled, it functions more as a character study than a travelogue, and that makes for an engaging time in a darkened theater.
  18. While not stunningly original, is fresh and compelling enough to hold the viewer's attention through its entire running length.
  19. So jam-packed with self-referential humor, pop culture cameos, and nods to some of the greatest moments in animation, that it's almost impossible not to like it.
  20. The movie carries a mild PG rating but may be too intense for younger children.
  21. Some of what occurs in Lucky Number Slevin is done with a wink and a nod, although McGuinan (á là Tarantino) doesn't skimp on the gore.
  22. A solid motion picture with a universal message and occasional splashes of genius, but it is remarkable only as Holly Hunter's performance is concerned.
  23. Taken as a whole, Shallow Grave is a reasonably enjoyable (for those captivated by this sort of thing) black comedy/noir thriller that justifies at least a portion of the praise being heaped upon it from overseas.
  24. While Cheryl's journey is interesting, it isn't as compelling as the one embarked upon by Christopher McCandless (Into the Wild). The most arresting aspect of Wild isn't Cheryl's perambulation along the 1000-mile long Pacific Crest Trail but the memories that percolate to the surface as flashbacks.
  25. The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.
  26. The film is too energetic, too jaw-droppingly campy, and too silly not to be enjoyed and celebrated on some level. "Cheesy" doesn't even begin to describe it, yet that's at the heart of its perverse charm. Now, that's entertainment!
  27. Summer Hours attracted two of France's acting luminaries, and their presence elevates the material. Charles Berling has the central role; the movie is largely told from his perspective. Juliette Binoche, with blonde hair, has a secondary part.
  28. The New World is beautiful and lyrical and, except for the ill-advised voiceovers, a treat for more than one of the senses.
  29. It celebrates art, hope, and dreams, and you don't have to like hip-hop to appreciate the message or the way in which it is delivered.
  30. The vision of director Alex Proyas lifts this film above its sad history.
  31. There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.
  32. Happenstance represents an intriguing meditation on the unseen forces that no one can escape.
  33. Never pretends to be something that it isn't. Oh, there are costumes, to be sure, but that's just to facilitate the setting of the 18th century. Anyone who mistakes this for a costume drama is not aware of what kind of film they have ventured into.
  34. The strength of Push is its relentlessness. The movie doesn't pause for anything and, when it provides exposition, it does so without bringing the action to a grinding halt.
  35. When it comes to The Raid: Redemption, there are no pretentions. Pure and simple, this is about violence. As we used to say, "kickin' ass and takin' names."
  36. For the most part, Safety Not Guaranteed is a pleasant viewing experience, but there is a flaw. While Darius is bonding with Kenneth, Jeff is reconnecting with his past. This subplot goes nowhere.
  37. Robert Downey Jr. is perfect as Harry. He brings the right mix of cynicism, self-doubt, and unpretentiousness.
  38. Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.
  39. Coulter is a TV veteran but a motion picture newcomer. His work here indicates he is someone to watch. The pacing is slow and deliberate, but the story never ceases to intrigue.
  40. We Are Marshall is precisely what one expects from a true sports story: it's uplifting and inspiring.
  41. With a cast like this, one has a right to expect something amazing, so the fact that We Own the Night is merely "entertaining" might cause disappointment in some quarters.
  42. As a satire and an off-the-wall comedy, Bubba Ho-Tep hits the bullseye. As a horror movie, it's less successful. Maybe we're too busy laughing to be scared.
  43. Black Sea contains its share of fantastical elements and the ending in particular evidences gaping holes of logic and physics but, as a "refrigerator film," it works well.
  44. The film is more than a little odd but it has fun with its offbeat premise and moves along breezily until it gets bogged down in the third act.
  45. A Girl Like Her offers an emotionally honest examination of an important and often overlooked societal problem.
  46. Unfortunately, the running time is too short for us to get to know, or care about, the characters in a way that would make the film's themes strike a responsive chord.
  47. The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.
  48. This is a pure popcorn movie -- the kind of film one can unabashedly enjoy for what it is. There's plenty of visual flash and dizzying action, but not at the expense of the other qualities that make for a complete motion picture experience.
  49. A classic example of a pedestrian motion picture being lifted out of mediocrity by an arresting lead performance. Zooey Deschanel doesn't just elevate Winter Passing; she carries it.
  50. Charlotte's Web has all the requisite elements that a family film needs to succeed and endure: humor, drama, pathos, and an emotionally satisfying ending.
  51. It's not a great film, but it succeeds in being both tender and cathartic.
  52. Inventing the Abbotts has the cast and characters to be something special; the script just isn't ambitious enough.
  53. My admiration for I Am Love is higher than my appreciation, and its appeal will be limited to an exclusive audience.
  54. Offers nothing more spectacular than a character study. And, although The Good Girl's protagonist may be trapped by routine, that's one claim that can never be made about the movie.
  55. While there's quite a bit more graphic bloodshed and brutality here than in any of the late screen icon's vehicles, Payback is a worthy '90s successor to his kind of movie.
  56. War Horse's primary attraction is not the story of how it makes us feel but its impressive re-creation of the Great War's battlefields and some stunningly beautiful camerawork by cinematographer Janusz Kaminski.
  57. It requires only four words to describe Earth: glorious photography, annoying narration.
  58. As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.
  59. Moments of light comedy keeps the tone from becoming too heavy without sabotaging the movie's dramatic underpinning.
  60. Not great Disney but good enough to engage viewers young and old.
  61. Although Volver has a tendency to stray too far down tangential paths, it is ultimately satisfying.
  62. After starting with a lackluster introduction and a by-the-numbers heist sequence, the film concludes with an upbeat and appealing final act that recalls "Big Night."
  63. The result is solidly entertaining - not quite as good as "Horton Hears a Who" or "How the Grinch Stole Christmas" - but unquestionably better than "The Cat in the Hat."
  64. Oddly, the filmmaker best known for his Valentines to New York, Woody Allen, is not participant.
  65. There are times when the film is flat-out silly (such as the spinning car assassination), but that's part of the movie's charm. At its worst, Wanted is never boring. At its best, it can be damn close to intoxicating. One word, written without apology, describes it best: fun.
  66. The extreme nature of the gore isn't beside the point - it is the point. Raimi goes so far over the top in presenting these displays that they take on a campy, almost humorous appearance. It's impossible to take all this blood seriously. So, instead of being sickened, we're strangely amused - and this is all intentional.
  67. It's pure comic book/popcorn action. If that's your kind of movie, it's hard to go wrong with this one.
  68. Hall Pass isn't by any means flawless, but its ability to integrate extreme scatological humor with moments of genuine feeling is rare.
  69. Whedon has made the Bard accessible and that achievement places him alongside Branagh in the exclusive club of directors who can handle both superheroes and Shakespeare effectively.
  70. As feel-good as any sports movie you're likely to find. It's a solid choice for family viewing, but is equally worthy of viewing by solo adults.
  71. This movie has a driving plotline that "Ray" lacked - a love story. To me, that's what elevates this film.
  72. Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for something lighter and breezier, it's still fun.
  73. The acting is superb across-the-board, with the three younger performers deserving accolades.
  74. The Spanish Prisoner is for anyone who likes to think and feel along with the characters.
  75. It's simple and well-told, although nothing about it is breathtakingly original.
  76. A highly satirical work, albeit without the "in your face" style of "South Park."
  77. There are no big-name stars. Barbara Serafian, who is excellent, has a thin, eclectic resume. She looks a little like Frances McDormand.
  78. Away We Go is not as dramatically wrenching as "Revolutionary Road," but it's unquestionably more enjoyable.
  79. Unchallenging but easy to like. There's not enough here to capture the interest of those indifferent to romantic comedies, but fans - even of the casual variety - will find this to be a pleasant mid-summer diversion.
  80. Tonally, Hope Springs is closer to Alexander Payne than Meyers although Frankel does his best to keep things from turning too dark.
  81. The compelling and interesting aspect of Lucky You is not so much the compulsion that drives the main character but the way in which he interacts with those around him. The movie isn't a downer, but neither does it end with all loose ends nicely tied off. In this case, redemption does not equate with salvation.
  82. The acting, especially by the male leads, is superlative.
  83. In order to appreciate The Ruins, one has to be a die-hard fan of horror or bloody thrillers. Those in that category will discover that The Ruins delivers the goods.
  84. From an acting standpoint, Blake Lively makes a compelling case that she doesn't have what it takes to play this sort of a role; she lacks the chops to carry the elements of the movie in which she is expected to dominate.
  85. The Hundred-Foot Journey represents a pleasant diversion for those who have grown weary of traditional summer movie fare. The picture is about people and how they interact. There are no explosions or car chases.
  86. The film's climax is nothing short of hilarious. And Death at a Funeral doesn't discriminate when it comes to the type of humor it embraces it. Everything is in there, from physical hijinks to verbal repartee to naked man jokes to drugs and gross-out stuff.
  87. On balance, however, there are more things to like about Daybreakers than to dislike. The production is loaded with impressive touches, some more nuanced than others.
  88. Prometheus is the antithesis of the "big, dumb summer movie." Its visuals and special effects can stand toe-to-toe with any of the season's spectacles, but are audiences ready for something with an intelligent, thought-provoking screenplay where the action is secondary? Prometheus is flawed, but stupidity cannot be numbered among its missteps.
  89. The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.
  90. John Wick is a rousing action thriller of the sort rarely encountered in theaters these days. The once popular genre, which was headlined by the likes of Stallone and Schwarzenegger during its heyday, has been a dying breed during the past two decades.
  91. As a melding of new techniques and technology with old-fashioned methods of storytelling, it's an opportunity for the Magic Kingdom to remind audiences that, when it comes to putting fairy tales on screen, they remain on a higher level.
  92. In this motion picture, Oliver Stone presents his vision of the forces that drove and motivated the late President. And, factual or not, there's no denying that Nixon has moments when it is nothing short of compelling.
  93. Works on its own terms, which is more than can be said of most horror films these days. If this is the kind of movie you're looking for, it delivers.
  94. The 2014 iteration isn't as good as its 1974 predecessor but it offers its share of small pleasures, not the least of which is the crisp, sharp dialogue that never loses its punch even when it veers close to the edge of pretentiousness.
  95. 9
    This is post-apocalyptic adventure as imagined for a teen crowd, and what it lacks in depth it makes up for in action. With a slight running time of 80 minutes, 9 doesn't contain an ounce of fat on its animated bones.
  96. Will work better for younger viewers than older ones. There's not much plot to absorb and there's plenty of action, so this is the kind of spectacle that will appeal to those without long attention spans.
  97. It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.
  98. Cuteness is the watchword here. The dark, eerie atmosphere that oozed from every frame of "The Empire Strikes Back" is gone. Instead, for Return of the Jedi, we have good triumphing decisively over evil, a too-pat resolution to a love triangle, and walking teddy bears.
  99. My expectation is that Harry Brown will find its strongest adherents among those who remember Caine in The Ipcress File and Get Carter and are fascinated to explore his take on how that sort of character might have aged.
  100. It's a little along the same lines as "Ocean's 11" in what it achieves and, like that film, there's plenty of Oscar power among the actors - a combined 15 nominations, to be precise.

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