ReelViews' Scores

  • Movies
For 3,161 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 Three Colors: Red
Lowest review score: 0 Captivity
Score distribution:
3161 movie reviews
  1. It is a triumph, and one of 1998's few "don't miss" motion pictures.
  2. 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.
  3. The film's dramatic underpinning and the way it addresses impending empty nest syndrome are solid but the comedy varies from mildly amusing to achingly awful.
  4. In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.
  5. The arrival of the uncut Godzilla is a great boon to monster movie fans, but will have limited appeal to others.
  6. In essence, Control is a standard order biopic of a tormented artist. What makes the film interesting, if not unique, is the style in which director Anton Corbijn has elected to present it.
  7. It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing.
  8. There are also plenty of background sight gags that often go unnoticed on a first viewing.
  9. Blue Jasmine is an exercise in examining the lead character's mental degeneration. The end result, a performance-driven character study, offers an experience more akin to what one might expect from the late John Cassavetes than from the still very much alive Woody Allen.
  10. Horror isn’t for the faint of heart. It’s not a child’s genre. It isn’t meant to be comfortable. In fact, I’m hard-pressed to think of a recent movie that’s as uncomfortable and disturbing as It Comes at Night.
  11. Hellboy II is solid entertainment, but it's a shame such blemishes prevent it from achieving a higher level.
  12. It's an ingenious premise that first-time director Jan De Bont has turned into a tremendously well-executed motion picture.
  13. Grabs you by the throat and digs its claws in deep. From the moment that the unwitting viewer tumbles into the realm of Lawrence Tierney's gang of eight, they are hopelessly trapped there until the final credits roll.
  14. 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.
  15. The director is a poet of images.
  16. Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.
  17. From a shock-and-suspense point-of-view, Halloween is the rival of Alfred Hitchcock's "Psycho." With only a few arguable exceptions (such as "The Exorcist"), there isn't another post-1970 release that comes close to it in terms of scaring the living hell out of a viewer... A modern classic of the most horrific kind.
  18. It's as existential as a sci-fi/horror film can possibly be. It requires that the viewer slip into a meditative mood and remain there for more than 90 minutes.
  19. From an historical perspective, the story is interesting because it shows a different side of the war than what we're used to observing in motion pictures.
  20. This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.
  21. The Dark Knight Rises ultimately justifies its length (in fact, a good argument could be made for a longer cut) and the last 45 minutes is nothing short of spectacular. From the point where the narrative takes a leap of faith, it never lets up.
  22. The ending is muddled as an unsuccessful attempt is made to provide closure to a story that, if told frankly, shouldn’t have one.
  23. Easy isn't much of an acting challenge, but Washington's mix of charm and intensity creates an appealing personae.
  24. It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.
  25. In the final analysis, the movie doesn't offer much about the subject that hasn't been previously explored, but the soil is fertile and many ideas germinate.
  26. The critical question for the movies' producers is whether Harry will be as popular now that his legions of stalwarts know how it all ends. The smart money would be on answering that question with a resounding "yes!"
  27. There’s a lot here for kids to like and nearly as much to keep parents from fidgeting.
  28. There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.
  29. There's barely a whiff of melodrama in Chariots of Fire, which makes the film-watching experience all the more effective -- director Hugh Hudson shows respect for the integrity of his material and the intelligence of his audience. The absence of mawkish moments provides the narrative with a genuine quality that supports its factual background.
  30. Rather than perpetuating racial stereotypes, Eve's Bayou defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion.

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