ReelViews' Scores

  • Movies
For 3,198 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 Gravity
Lowest review score: 0 Knock Off
Score distribution:
3198 movie reviews
  1. 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.
  2. The acting, especially by the male leads, is superlative.
  3. 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.
  4. There are also plenty of background sight gags that often go unnoticed on a first viewing.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. For the first time in three films, Roger Moore starts to unearth a personality for Bond.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. While Muriel's Wedding has its moments of exhilarating humor, it is, as often as not, downbeat and even mean-spirited.
  24. The pieces and parts assembled herein are familiar, but the manner in which Affleck puts them together results in an engrossing two hours of cinema.
  25. Understands baseball and the men who play it, and, for a film about the sport, that's half the battle.
  26. Not everything in City Island works - some of the secrets are obvious plot devices - but, in terms of feel-good, undemanding entertainment, this is as good as anything I have seen thus far in 2010.
  27. The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.
  28. Like a time-travel movie, but without the time travel, The Mothman Prophecies delights in playing with cause-and-effect relationships.
  29. The white hats are stained dark gray as if by ashes and soot. The villains are twisted, cruel, and vile. The heroes aren't much better.
  30. The Book of Life represents Guillermo del Toro's most hands-on foray (to date) into the realm of family friendly entertainment; this is closer in tone and sensibility to one of Tim Burton's offbeat animated films than one of Pixar's more "vanilla" productions.
  31. The film is unusual not so much because of its content - the man vs. nature story has always been a popular one, whether in print or on film - but in its restraint. Putting an actor, even an accomplished one such as Redford, alone on screen for more than 90 minutes is a risk.
  32. Paranoid Park is a rare breed: a movie about teenagers in which the characters talk like real teenagers, act like real teenagers, and are played by real teenagers.
  33. Oozes atmosphere. The humor keeps it from becoming too creepy, but there are still a few chills to be had.
  34. Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.
  35. 42
    Unfortunately, the generic bio-pic structure of 42 prevents it from ever becoming something great.
  36. Max
    Max is a throwback of sorts - a movie about the relationship between a boy and his dog. Lassie springs to mind as the genre classic, but this has a closer kinship to Rin Tin Tin. Although its sensibilities are old-fashioned, the movie offers a modern look and feel.
  37. St. Vincent may be a little kinder and gentler than the likes of "Bad Santa," but there's enough inappropriate behavior and comedic friction to fuel an entertaining 103 minutes.
  38. Those for whom Spirit was made will find this to be a thoroughly enjoyable production. As a "kids' movie", Spirit is a resounding success.
  39. Stoker is deliciously demented, and that's a good thing. This twisted coming-of-age tale takes us into "Carrie" territory without the supernatural element.
  40. It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before.
  41. Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.
  42. Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.
  43. Enjoyable enough that the sprinkles of artificial sweetness in the mix don't do lasting or irreparable damage.
  44. There are enough laughs to justify it being labeled as a comedy but a stronger storyline than one normally associates with this kind of film. It's an enjoyable diversion amidst the big guns of summer.
  45. Whatever social statement Ordinary People was making about its time has evaporated during the intervening years, leaving behind an open, honest drama lacking the emotional punch that would make it unforgettable today. Ordinary People should be devastating, but it's not. By any standards, it's still a good movie, but three decades have stripped away any pretense of greatness. [21 Feb 1999]
  46. An effective period piece thriller that incorporates love, lust, desperation, and madness into a stew thickened by a gothic atmosphere.
  47. The equation of "drugs+booze+sex=happy ending" applies. Then along comes Harmony Korine with Spring Breakers and subverts an entire genre.
  48. What sets this apart from its many competitors for teen dollars is that not only does the movie feature a surprisingly edgy and intelligent script, but it offers a group of characters capable of holding an audience's interest for more than 90 minutes.
  49. This feel-good motion picture is intelligently written and expertly directed.
  50. The great irony of this film, which is (at least on one level) about the power of writing, is that the words are of secondary importance to the overwhelming visual presentation.
  51. An entertaining thriller. That said, it's the weakest of the films, falling a length or two behind "The Girl Who Played with Fire," and considerably more than that with respect to "The Girl with the Dragon Tattoo."
  52. If there's a complaint to be made about Insidious, it's that the film's second half is unable to live up to the impossibly high standards set by the first half.
  53. Big Fish is a clever, smart fantasy that targets the child inside every adult, without insulting the intelligence of either.
  54. The trailers make Run All Night look like a fast-paced shoot-'em-up and, although those elements are present, this is a darker and grimmer experience.
  55. Berg's picture is certainly an above average effort that provides a solid emotional punch.
  56. It has taken Warner Brothers ten years to get this property a new life and, thankfully, the results in no way resemble those of its Cold War TV compatriot. Or, to put it another way, The Man from U.N.C.L.E. (2015) is good fun, which "The Avengers" (1998) wasn't.
  57. It's airheaded just like the songs it embraces but, if you enjoy them, there's every reason to believe you'll appreciate the film.
  58. It engaged me throughout and I found the ending to be surprisingly hopeful.
  59. This represesents the smartest high-budget, high-profile science fiction film to have come along in quite some time.
  60. An intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.
  61. The film's first 15 minutes are by far the most fun (and could be the best quarter-hour of any movie released this year), with Samuel L. Jackson and The Rock letting it all hang out.
  62. RED
    It's a lot of fun and, because of the high quality of the cast, there's no need to feel guilty about praising such an inherently silly motion picture.
  63. Has its share of bitingly funny moments, and some of the comedy is quite inventive.
  64. Nothing if not versatile. And, although perhaps not as funny as one might expect given the setup, it successfully grows the main characters beyond their stereotype roots.
  65. The ensemble cast is diverse and accomplished, but, because of the time constraints, no one has enough time to register much of a positive or negative impression.
  66. Has the potential to be a truly memorable film, and, for more than three-quarters of its running time, it is poised to live up to that potential. But then there are the final twenty minutes.
  67. Blomkamp's universe is a fascinating place to visit and the movie is stuffed with ideas - there's far too much here to satisfactorily explore in 109 minutes, especially when one considers that room must be made for action scenes. I departed the theater satisfied with what I'd seen but wanting more.
  68. A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.
  69. Ultimately, Clockers probably attempts too much, and ends up seeming overcrowded as a result.
  70. This is adult drama with an impeccable sense of period and a strong focus on character. With today's cinema sadly lacking in movies like this, it makes Inside Llewyn Davis all the more welcome, especially for those who care about the kind of music it honors.
  71. Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.
  72. For what Man on Fire delivers, it's worth enduring Scott's hyperkinetic visual techniques.
  73. It proves capable of doing something that many more artistically ambitious films fail at: entertaining an audience for nearly two hours.
  74. Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.
  75. The director is a poet of images.
  76. One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.
  77. Has enough charm and whimsy to capture the attention and imagination of children and parents alike, and arguably represents one of the best live-action family films to enter theaters this year.
  78. An uncommonly intelligent espionage thriller that explores the moral and ethical dilemmas faced by agents who go deep undercover in the service of their country.
  79. It's more heavy lifting than some will be willing to engage in but there's something welcome about a motion picture that doesn't hand out a dumbed-down resolution in a neatly wrapped package.
  80. At first glance, Inherent Vice might seem to be a detective story. Look a little closer, however, and it becomes clear that this is Paul Thomas Anderson's idea of a comedy. There's slapstick, lowbrow material, and enough strange characters and "completely different" moments to make Monty Python smile.
  81. Perhaps the biggest surprise of all is that the film doesn't resort to an easy cheat at the end. It plays things straight, and still manages to satisfy, making this one of Sandler's most appealing outings to date.
  82. There are no gadgets, forcing Bond to rely on his ingenuity (in one scene, when he needs to breathe while submerged, he uses hollowed-out reeds as air tubes). The single car chase is reasonably straightforward. And, for the only time in the series, 007 is unmistakably brutalized, appearing bloody, beaten, and disheveled as a result.
  83. Planes, Trains, and Automobiles is one of those rare movies that manages to mingle outrageous comedy and light drama in such a way that we aren't repulsed or offended by its simplicity and occasional mawkishness. It's a fine cinematic treat that doesn't demand much from a viewer, but gives back a lot, both in terms of laughter and good feeling.
  84. While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.
  85. While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.
  86. A fun, fantastic adventure, but, watching it, I had the sense that it could have been even better than it is. I was diverted and entertained, but never truly absorbed.
  87. Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.
  88. Gets the most bang for its buck by letting the camera linger on the spectacle, and allowing tension, not flashiness, to be its hallmark.
  89. A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.
  90. A wonderfully nostalgic, and occasionally insightful, window into the recent past.
  91. What's missing from Mockingjay - Part 1 is a strong through-story. The previous films were characterized by engrossing, well-constructed story arcs but Mockingjay - Part 1 meanders.
  92. This is not Schrader's finest work. The script is not tight, the ending disappoints, and there's a little too much drawn from "American Gigolo." But there are some great one-liners, compelling actors, and well-developed characters.
  93. As intense and as harrowing as any British thriller to emerge from the east side of the Atlantic in recent years, and there are some good titles vying for that distinction.
  94. Although This is 40 is too long and at times over-the-top, its essence is grounded in everyday moments and emotions that will have viewers nodding with understanding and recognition.
  95. An unabashed excursion into feel good territory.
  96. 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.
  97. It's an unsettling piece that reminds us how even monsters aspire to living the American dream.
  98. Sully proves to be by turns engaging, exhilarating, and nail-biting.
  99. 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.
  100. Enjoyable for a movie in which pretty much nothing happens.

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