ReelViews' Scores

  • Movies
For 3,061 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 21 Grams
Lowest review score: 0 Feast
Score distribution:
3061 movie reviews
  1. The presence of so many low-key performers gives A Serious Man a very different, distinctly non-Hollywood vibe. The absence of familiar faces allows the Coens to fully immerse their audience in the time (1967) and place (the U.S. Midwest) of the story.
  2. It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.
  3. Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.
  4. This is a simple story of human drama that provides an incentive to spend a couple of hours in a movie theater during a spring that has not provided many such reasons.
  5. Green Room is a simple movie with a straightforward premise. The film works for two reasons: Stewart’s presence and Saulnier’s execution.
  6. When it comes to tone, Iron Man achieves something at which many of even its most celebrated predecessors have failed: it doesn't FEEL like a superhero movie. Instead, it's bigger and more inclusive.
  7. From a purely visual standpoint, this may be the most impressive of all of Disney's traditionally animated features.
  8. Mamet illustrates that he can work as capably from someone else's script as he can from his own, and that his talent as a director is not eclipsed by his ability as a writer.
  9. This installment inches events closer to a merge point with 1968's "Planet of the Apes" while maintaining its own unique identity. It is in every way superior to "Rise of the Planet of the Apes."
  10. May not have much thematic depth, but it represents two hours of pure, exuberant entertainment – an epic gangster tale rendered on a grand scale.
  11. Affliction is for anyone willing to take the journey into the heart and soul of a troubled man on the edge.
  12. Life of Pi is a curious juxtaposition of the mundane and the majestic; a film that strives for something grander than what it perhaps achieves.
  13. One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.
  14. Yes, Fences suffers somewhat from the bare-bones transferal of the “action” from stage to screen but the material is so compelling that viewers can easily lose sight of the movie’s “play nature.”
  15. This is one of those unusual films that is capable of enthralling those under twelve while not sending older members of the audience rushing for the exit.
  16. Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.
  17. My admiration for I Am Love is higher than my appreciation, and its appeal will be limited to an exclusive audience.
  18. The look and feel of Black Swan, which captures the essence of a major New York ballet production, is one of Aronofsky's great successes.
  19. It is a triumph, and one of 1998's few "don't miss" motion pictures.
  20. 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.
  21. 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.
  22. "28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.
  23. In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.
  24. The arrival of the uncut Godzilla is a great boon to monster movie fans, but will have limited appeal to others.
  25. 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.
  26. It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing.
  27. 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.
  28. Hellboy II is solid entertainment, but it's a shame such blemishes prevent it from achieving a higher level.
  29. It's an ingenious premise that first-time director Jan De Bont has turned into a tremendously well-executed motion picture.
  30. 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.

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