ReelViews' Scores

  • Movies
For 2,700 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 Braveheart
Lowest review score: 0 Captivity
Score distribution:
2,700 movie reviews
  1. Solid performances, an intelligent script, and sure-handed direction. The result is a movie that kept me involved from start to finish.
  2. Looks at isolation and the fragility of human relationships. It's a poignant, unsettling motion picture that will baffle those who have become used to Hollywood's compact, tidy endings.
  3. This is one of Levinson's best films, and the screenplay, co-penned by noted writer David Mamet (along with Hilary Henkin), is brilliantly on-target.
  4. Into the Wild is a beautifully made motion picture and some of the segments (especially those with Hal Holbrook and those that transpire around "the magic bus" in Alaska) are powerful.
  5. If ever there was a movie more destined to become a cult phenomenon, I don't know if I can name it.
  6. Ghost Protocol is big and brassy, doing many of the things its predecessors did but, in the words of Nigel Tufnel, turning them up to "11."
  7. In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort.
  8. A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.
  9. The questions posed by Like Father, Like Son are universal in nature and the manner in which Kore-eda addresses them makes for superior drama.
  10. Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go.
  11. A serviceable thriller - no more, no less.
  12. Arbitrage is actually a fairly straightforward thriller in the John Grisham vein. It doesn't demand that the viewer know the difference between a hedge fund and a hedgehog. Arbitrage also reminds us that thrillers do not have to be action-packed to generate tension.
  13. 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.
  14. There are times when the comedy works, but the number of genuinely amusing sequences are outnumbered by those that, in trying to generate laughter, simply seem silly.
  15. 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.
  16. 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."
  17. The film's adult leads, Naomi Watts and Ewan McGregor, give powerful, natural performances.
  18. Several flaws, mostly minor, keep Casino on a plateau slightly below that of the director's best (Mean Streets, Raging Bull, Taxi Driver, Goodfellas).
  19. With its unique perspective on both the coming-of-age and thriller genres, the movie deserves to be seen by a wider audience than the one that normally frequents subtitled movies.
  20. The issue may be serious, but the tone is lighthearted, and that, more than anything else, makes Super Size Me a palatable cinematic entrée.
  21. It's certainly a successful adaptation, features numerous memorable performances (mostly by the supporting players), and is worth a post-holiday expenditure of time and money.
  22. This is a solid family film material, although one suspects the children will get a little more out of it than their parents.
  23. Designed primarily for those who are intrigued by theater, curious about Welles, or some combination of both.
  24. The problem with Rocket Science is that the character at the center of the drama isn't very energetic or, truth be told, interesting. This makes it difficult at times to remain engaged in the unfolding tale.
  25. Suffused with satire, wit, and the dry, tongue-in-cheek flavor of comedy one rarely finds in American productions, this stop-motion animated excursion pokes fun at pirate conventions while representing icons Queen Victoria and Charles Darwin as a bitch and a twit, respectively.
  26. Overall, if the film is not as funny as its predecessors, that's probably part and parcel of why it doesn't seem as enchanting. Emotionally, despite the character arc, Cars doesn't resonate in the same way "The Incredibles" or "Toy Story" did.
  27. Isn't an especially good horror movie, it succeeds in enough different ways that such a defect hardly matters.
  28. 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.
  29. The movie's anti-climatic resolution in concert with the holes left by the occasionally untidy script result in The Lookout not living up to its promise. Compared to some of Frank's past projects, this is a tepid offering.
  30. For a viewer in the mood for something rude, crude, and lewd, it would be difficult to find a more satisfying food.
  31. Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.
  32. 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.
  33. 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.
  34. Ray
    Sluggish, conventional, and almost completely lacking in energy.
  35. Rude, raunchy, uproarious, yet with elements that are surprisingly sweet.
  36. Kinetic, atmospheric, visually stunning, and mind-bending.
  37. May be light when it comes to psychological questions, but its detailed accounting of Glass' actions makes for fascinating viewing.
  38. War of the Worlds is not vintage Spielberg, and it's on the grim side for a summer action blockbuster, but it's worth the time and money invested.
  39. The most important part of any thriller - even one as upper crust as this - is the resolution, and that's where Notes on a Scandal falls on its face. The ending itself isn't bad but the single act leading to it is unforgivable.
  40. For those who enjoy the offbeat, The City of Lost Children is worth taking the time and effort to find.
  41. Go
    Fast-paced and often witty, but ultimately vapid.
  42. Romanticizes gangland Chicago, but no more so than other films set in the same period. And, like almost every movie about the mob, this one deals with themes of family, loyalty, and betrayal -- albeit without the intensity of some of the great ones ("The Godfather," "Goodfellas").
  43. Visually, it's more impressive than Disney's “Toy Story.”
  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. Magic Mike takes itself seriously - not so seriously that there isn't room for a little humor, but this is not an excursion into cheesiness and gratuitous nudity.
  46. The devilishly clever script tries a lot of things. Not all of them work, but it's hard not to admire Whedon and Goddard for the attempts. This is definitely not your standard kids-get-slaughtered-by-zombies motion picture.
  47. Although Killer Instinct is the better of the two parts, Public Enemy No. 1 is a worthy continuation, providing closure to a tale that was interrupted just as things were getting really interesting.
  48. Lovers of Dahl's book will almost certainly appreciate what Burton has wrought.
  49. Big
    Although Big is generally lighthearted, it rarely plays for stupid laughs. There are a few of these, but the film avoids sacrificing character integrity for the cheap guffaw.
  50. At a time when many mystery thrillers fall apart in the final fifteen minutes, Headhunters maintains its integrity.
  51. Imperfect as it may be, Bowling for Columbine is riveting stuff.
  52. This movie has all the qualities necessary to be a crowd-pleaser: likable characters, charismatic performers, a strong, capably-executed premise, and lots of laughs.
  53. One of those films that does many things right, and that places it among the year's best period pieces. It's a cut above the usual BBC costume drama.
  54. Sabrina is playfully seductive, and will leave almost all viewers, even those as cold as Linus, with a smile on their lips and a warm glow in their hearts. [Review of re-release]
  55. An amazingly over-the-top anti-racism parable but, despite its obvious shortcomings, it is nevertheless effective and affecting.
  56. 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.
  57. Eventually, Seabiscuit settles into a nice rhythm, and, as it enters the stretch run, it exhibits all the necessary elements of a good sports movie. Like the horse it's named after, Seabiscuit has a lot of heart, and, in the end, that's what won me over.
  58. This enigmatic and in some ways maddening motion picture has the power to haunt every viewer it reaches.
  59. And, while there's nothing revolutionary or extraordinary about the dramatic narrative, the subtext gives Winterbottom's movie its force.
  60. It requires only four words to describe Earth: glorious photography, annoying narration.
  61. Superman Returns is not only a credit to the first two Superman movies; it may be the best of the series. Its combination of romance and fantasy adventure is unparalleled in superhero comic book-to-movie sagas.
  62. While no one is going to place Costner alongside Laurence Olivier in the acting department, he brings a likability to Dunbar that many better performers might not have been able to match.
  63. Pi
    For anyone who wants a movie to feed their intelligence and imagination more than their eyes and ears, Pi is a solid choice.
  64. The film is so boisterously entertaining that it's easy for the unsuspecting viewer not to realize that there's a message here.
  65. As simple and straightforward a movie as one is likely to find in theaters today.
  66. Hellboy likely won't be the best comic-to-screen adaptation this year, but, squared off against its early-season challenger, Marvel's "The Punisher," this is the winner.
  67. This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.
  68. Lightweight, although it exhibits enough heft for us to develop an emotional connection with the main character. I have always appreciated a smartly written motion picture, and, whatever flaws Igby Goes Down may possess, it is undeniably that.
  69. 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.
  70. The special effects are first rate - not always the case with Star Trek movies, although Abrams has been given a budget the likes of which directors Nicholas Meyer, Leonard Nimoy, and William Shatner would have salivated over.
  71. Robert Downey Jr. is perfect as Harry. He brings the right mix of cynicism, self-doubt, and unpretentiousness.
  72. There is a wealth of authenticity in the feel of the movie, as if Levine and/or his writer have endured some of this stuff.
  73. Super 8 is in many ways a perfect summer movie: smart, exciting, heartfelt, and suffused with nostalgia.
  74. 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.
  75. Easy A may not be a great movie, but it is a knowing and enjoyable one.
  76. There's something very old fashioned about the core ingredients of Wreck-It Ralph; these blend well with the "hip" elements. Still, I can't help but wonder whether this is all just one big product placement for something aimed at the home video market. It seems like a game designer's wet dream.
  77. Doesn't come close to masterpiece status. There are some great individual scenes and a tremendous performance by Daniel Day-Lewis, but the connecting material is mediocre, leading to the occasional twinge of dissatisfaction.
  78. While this outing will not challenge the likes of "The Natural" for the title of the best baseball movie ever made, it's a solid effort in its own right.
  79. The kind of expression of emotion that touches a deeper chord.
  80. The intelligence and subtlety of The Rainmaker took me by surprise. I don't know if this is because the novel is better than any of the prolific lawyer-turned-author's previous efforts, or if Francis Ford Coppola has performed a near-miracle in transforming the written pages into a screenplay.
  81. It takes a confident actor to accept a role like this and to perform it to flawless perfection.
  82. It's neither glamorous nor erotic and director Steve McQueen has taken an unflinching and non-judgmental view of sexual addiction in Shame.
  83. Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.
  84. One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.
  85. This new interpretation does few things better than the original, and many things worse.
  86. As much as any other motion picture that employs the preparation and consumption of food as a key element, Mostly Martha provides the perfect blend of cinematic nourishment and gratification.
  87. This movie has a driving plotline that "Ray" lacked - a love story. To me, that's what elevates this film.
  88. The interaction between the three teenagers is well executed and plausible, despite the almost complete lack of a back story for any of them.
  89. Not only could one argue that this is the best "serious" work the director has ever attempted, but it's presented in a way that even the most seasoned Allen fan will have difficulty recognizing the iconic filmmaker's fingerprints.
  90. The movie is funny, energetic, and enjoyable -- the perfect film for a night or an afternoon out, regardless of what mood you're in. While the plot and characters don't boast any special depth, there's enough freshness to hold just about anyone's interest.
  91. Provocative, entertaining, and impeccably crafted.
  92. Perhaps best of all, this is a rare instance in which the 3-D, while not an asset, is at least not a detriment.
  93. For those who have gotten their Harry Potter fix entirely through the cinematic incarnation, the script is lucid and fast-moving.
  94. The film offers food for thought, and reminds us that, in any war, one who understands the mindset of his opponent gains an important tactical advantage.
  95. There is not a false note in Cry, the Beloved Country. Every scene is an example of near-perfect composition and execution.
  96. Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.
  97. Wow. For those with strong constitutions, The Raid 2 offers one of the most intense motion picture experiences available; it may also be the most violent movie ever to be released into theaters.
  98. It's not startling or frightening enough.
  99. Despite its good intentions, A Family Thing could easily have been a mediocre drama, but the excellent performances elevate the film considerably.
  100. With fresh dialogue and a willingness to show his protagonists in a less-than-favorable light, Demme has found a way to make this entry memorable.

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