ReelViews' Scores

  • Movies
For 3,049 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Braveheart
Lowest review score: 0 Bachelorette
Score distribution:
3049 movie reviews
  1. Takes the traditional romantic comedy and tweaks it by way of "The War of the Roses." Rarely has strife between the sexes been so ruthless, so civilized, and so funny.
  2. After a while, Factotum surrenders to monotony and only the performances are likely to retain the viewer's interest.
  3. Tropic Thunder understands movies, understands the system in which they are created and, most of all, knows what it takes to make an audience roar with laughter.
  4. 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.
  5. A silly script and uneven pacing.
  6. The vision of director Alex Proyas lifts this film above its sad history.
  7. 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.
  8. Offers a more satisfying cinematic experience than "Oblivion."
  9. Enjoyable in a shallow way, but there's nothing so special here that it warrants more than a cursory glance.
  10. Mulan effortlessly blends serious, comic, and cute elements into a whole that should entertain the majority of movie-goers, regardless of race, gender, or age.
  11. Hacksaw Ridge embraces many of the clich├ęs of the war movie but, instead of laying them out in a rote fashion, the film synthesizes them into a visceral, ultimately inspirational result. This is about heroism, patriotism, and an adherence to convictions.
  12. Although Hanks' film starts out strong, it finishes on shaky ground... A serio-comedy/fantasy whose light dramatic arc can't support the awkward and unnecessarily melodramatic ending.
  13. Despite an occasional narrative hiccup, this is a rich and moving motion picture.
  14. There are times when 22 Jump Street is borderline brilliant. Unfortunately, those instances are outnumbered by segments that don't work for one reason or another.
  15. For most of the movie, Cody and Reitman jape at her until, in the last 20 minutes or so, they attempt to turn her into an object of sympathy. It doesn't work and, on balance, neither does Young Adult.
  16. Ana is a vivid, vibrant individual and the movie's focus upon her makes it successful and accessible.
  17. As a means to bring a classic novel to the attention of a modern audience, McGrath's Nicholas Nickleby is a success.
  18. Isn't just heartwarming and inspiring, it's a remarkable look at a group of children whose most noteworthy trait is that they are ordinary.
  19. It's lively and vivid but ends up leaving the viewer indifferent to the central character, his life, and his dubious place in British pop culture.
  20. The Girl with the Dragon Tattoo can stand on its own as Fincher's valentine to goth girl power, detective stories, and the grotesqueness of the human heart.
  21. The Wrath of Khan is a top-notch, fast-paced adventure that can be enjoyed equally by fans of the series and those who have never seen an episode.
  22. Jim Carrey re-invents Horton much as Robin Williams did with the Genie of the Lamp in Disney's animated "Aladdin."
  23. First time director Jonathan Frakes (who also plays Riker, the Enterprise's second-in-command) injects some badly-needed energy and inventiveness into a series that, prior to this effort, was sinking under its own weight and boldly going nowhere.
  24. There are times when, as diverting as it can be, Next Stop, Wonderland feels like a lengthy prologue to an as-yet unmade film.
  25. O'Connor gives the film a dark, moody look, which is the best choice for so many roiling emotions. This is not a traditional stand-up-and-cheer fight movie; the undercurrents are too strong and deep.
  26. There's nothing here to astound or surprise; the movie neither exceeds nor falls below expectations. Those who love Hardy and/or the less-filmy romances of his era will derive the most from Far from the Madding Crowd.
  27. The result is an involving experience for all but the most fidgety children and an opportunity for parents to enjoy (rather than endure) a motion picture with their offspring.
  28. Like nearly any thriller, no matter how intelligently and tightly plotted, it is possible to poke holes in its fabric. But, as it's unspooling in the theater, it makes for a wonderful movie house experience. Here's a sleeper worth a few extra miles' travel to see.
  29. Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.
  30. Not only is Pleasantville a satire, a fantasy, and a visual marvel, but it's the best kind of feel-good movie.
  31. Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.
  32. This is a hard, challenging motion picture. It demands much from the audience, and repays that investment with powerful, engrossing drama that does not offer insulting, facile answers. House of Sand and Fog is gripping and unforgettable, one of the best movies of 2003.
  33. Ultimately, Clockers probably attempts too much, and ends up seeming overcrowded as a result.
  34. An unabashed excursion into feel good territory.
  35. It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.
  36. Mrs. Brown will delight and touch any viewer who seeks it out.
  37. Black Book possesses a taut, exciting script that throws surprises at the viewer on a regular basis.
  38. Although Like Crazy contains some emotionally on-target scenes, the movie as a whole feels glum and artificial. The characters, especially the male lead, are so low key that they're frustrating to watch.
  39. This one is a creepy white-knuckle excursion into horror, where even the "boo!" moments are so well developed that they cause a jolt.
  40. With its lack of car chases, fist fights, and over-the-top melodrama, the film has to rely on solid acting, an intelligent script, and capable directing.
  41. The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.
  42. As biographical crime thrillers go, Killer Instinct is a worthy entry to the genre, although the incompleteness of the story makes it difficult to evaluate on its own. The movie needs to be seen in the context of a greater whole for it to be fully appreciated.
  43. If you're a fan of James Brown's oeuvre, the film will keep you interested. If you're not, Get on Up will quickly become tedious and will wear out its welcome long before the end of its 133-minute run.
  44. It offers a feel-good experience, but without the heavy dose of schmaltz that often accompanies such a production.
  45. Moments of light comedy keeps the tone from becoming too heavy without sabotaging the movie's dramatic underpinning.
  46. An ordinary story told well. Taken as a whole, there's little that's special about this tale -- it follows a traditional narrative path, leaves the audience with a warm, fuzzy feeling, and never really challenges or surprises us.
  47. Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.
  48. This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.
  49. The action scenes are, for the most part, kinetic and exciting - things that have rarely been true of fights and chases in the superhero's previous incarnations.
  50. Despite the clever premise and several laugh-aloud moments, the film as a whole underwhelms.
  51. For those who buy into the precept that "good things are worth waiting for," The Walk unquestionably delivers.
  52. Although the specter of death hovers over the entire film, it is neither a grim nor a depressing experience. Arcand has injected a great deal of wit into the movie, and it meshes perfectly with the anticipated pathos.
  53. Berg's picture is certainly an above average effort that provides a solid emotional punch.
  54. As a source of light pleasure and solid laughs, it delivers. This particular cookie may not fill the belly, but it goes down easy.
  55. Without a hint of regret, the filmmaker freely borrows from such diverse sources as Martin Scorsese, Quentin Tarantino, Oliver Stone, and the TV program "C.S.I."
  56. While not stunningly original, is fresh and compelling enough to hold the viewer's attention through its entire running length.
  57. An atypical Allen film. Some of his usual themes are present - in particular, his neuroses about sex and love - but this movie does not bear enough Allen hallmarks to single it out as his work.
  58. It's quite engaging. It is competently constructed and often compelling, but it will not be mentioned in the same breath as some of its classic predecessors.
  59. 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.
  60. The best medium in which to view Countdown to Zero is on The History Channel, not in a theater.
  61. The film overflows with quips, irony, and physical gags while at the same time relating a noir-tinged story of seedy corruption set in the neon-saturated underbelly of the 1977 Los Angeles porn industry.
  62. There's no denying the film's power of compulsion and the sense that, when it's all over, it means something. Most viewers will be entertained and moved, and some will find their intellect aroused.
  63. There's nothing especially original about Unstrung Heroes, but the story is told with intelligence and sensitivity.
  64. 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.
  65. Structured as a comedy, albeit a dark one.
  66. Grease works as a musical, a comedy, a light romance, and a gentle satire of teenage life during the '50s. In part because of its persistent high spirits, it's a delight to watch, even 20 years after it first appeared on the screen.
  67. 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.
  68. 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.
  69. A smart movie that does not simplify or candy-coat the rigors of the teenage years.
  70. The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.
  71. Motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial.
  72. It makes for a fascinating exploration of the human experience.
  73. Director Zhang Yimou's ambitious attempt to blend martial arts action with Shakespearean melodrama. It's not a perfect marriage but it offers two hours of solidly over-the-top entertainment featuring incredible visuals and powerful performances by international icons Gong Li and Chow Yun Fat.
  74. An enjoyable experience.
  75. Joe Klein's novel -- is a cynical satire of life on the campaign trail. It's harsh, blistering, and possesses an edge that the film, a warmhearted comedy/drama, lacks.
  76. The most interesting personality in Ed Wood is not the title character, but Bela Lugosi. So covered up with makeup that he's barely recognizable, Martin Landau gives a deeply-felt performance -- a eerie and stunning recreation of a man haunted by lost fame.
  77. What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.
  78. It tells its own story and, unlike with "Thor 2" and "Iron Man 3," we don't feel the absence of the rest of the team.
  79. As a movie, The Hoax isn't a fraud but it's not the real deal, either.
  80. Sweet and light. It's a celebration of cultural diversity and an affirmation that, despite differences in race, religion, and societal norms, people are essentially the same.
  81. The kind of daring feature that doesn't open every Friday at the local multiplex; its frank, sometimes politically incorrect approach towards the act and politics of sex is refreshing.
  82. A stunning kaleidoscope of a motion picture - a mosaic of images that gradually resolves itself into a powerful tale of tragedy and redemption.
  83. It's refreshing for a romantic comedy not to follow the formula by rote. I only wish I could be as enthusiastic about the amount of screen time accorded to certain characters who are more tedious than endearing.
  84. It is fair to argue that, at least in the case of Rampart, Woody Harrelson is better than the material in which he appears.
  85. Not only is it a thrill-a-minute ride, but it has one of the best film villains in recent memory, a hero everyone can relate to, dialogue that crackles with wit, and a lot of very impressive pyrotechnics.
  86. The Spanish Prisoner is for anyone who likes to think and feel along with the characters.
  87. From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.
  88. Contagion is the best movie made to date about an epidemic/pandemic.
  89. Despite its themes of terminal illness, dysfunctional families, and the need to heal old wounds, the film spends more time provoking laughter than tears.
  90. As was true for "In the Company of Men," LaBute doesn't care if viewers are offended. Supported by a fine group of actors, he tells the story without compromises, and that gives us a refreshing alternative to multiplex fare.
  91. It has two modes: dark and darker, and dares to do some things with the Christmas motif that haven't been done since Norman Rene's "Reckless."
  92. District B13 is action porn. It's a series of amazingly choreographed, kinetic action sequences tied together by a laughably bad script and worse acting.
  93. Cronos is more concerned with ideas and atmosphere than people.
  94. 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.
  95. While "quirky" is a good descriptor for the production, Lars and the Real Girl isn't so bizarre that mainstream movie goers will reject it. This is an offbeat independent production that could become one of those big little fall surprises.
  96. Nothing, no matter how outrageous, is beyond Smith, and his willingness to flaunt cinematic taboos is one of the reasons why Clerks is such a unqualified success.
  97. Thumbsucker is true to its nature, and that makes Justin's eventual transformation all the more rewarding.
  98. 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.
  99. With Inglourious Basterds, Quentin Tarantino has made his best movie since "Pulp Fiction." He has also made what could arguably be considered the most audacious World War II movie of all-time.
  100. It is an accepted truth that adapting a sublime novel does not always result in a sublime movie. To an extent, this is the problem with Never Let Me Go.

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