ReelViews' Scores

  • Movies
For 2,838 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Score distribution:
2,838 movie reviews
  1. The Long Day Closes is very much the visual equivalent of a verse or a poem: beautiful images, but no narrative.
  2. Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.
  3. Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.
  4. Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.
  5. "28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.
  6. Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.
  7. What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.
  8. I lost track of how many times I checked my watch during the nearly three interminable hours it took Heat to play itself to a predictable conclusion of a chase scene and a shoot-out.
  9. Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.
  10. This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.
  11. Ray
    Sluggish, conventional, and almost completely lacking in energy.
  12. Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.
  13. This new interpretation does few things better than the original, and many things worse.
  14. Taken as a whole, Mad Dog and Glory is a disappointingly mixed bag. What's on the screen is passably diverting, but I often felt as if I was seeing only half the movie. With this intriguing premise and cast, the film should have offered more complete entertainment.
  15. What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.
  16. From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.
  17. Relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.
  18. Because of the potential of the idea and Cronenberg's reputation as a film maker, it's a real disappointment to watch eXistenZ fall apart the way it does.
  19. At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.
  20. Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.
  21. The movie doesn't offer enough to make it interesting or even diverting.
  22. Yes, A Late Quartet is disappointing. But it's also pretty bad.
  23. As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.
  24. The best thing that can be said about Welcome to Me, as written by Eliot Laurence and directed by Shira Piven, is that it attempts to portray the real Borderline Personality Disorder as opposed to the Hollywood movie version of the disease. Unfortunately, that's about all it does.
  25. The content is actually pretty bland -- it's not incisive, it's not daring, it's not uproarious, and it's not very good.
  26. You laugh a few times but, in the end, you wonder why you bothered.
  27. While there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.
  28. For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.
  29. Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition.
  30. Director Todd Haynes' (Safe) much-anticipated look at the "glam rock" scene of two decades ago, is like a jigsaw puzzle with half of the pieces missing.

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