ReelViews' Scores

  • Movies
For 2,811 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 The Untouchables
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,811 movie reviews
  1. The film's look is impressive; it's the most successful rotoscoping effort to date (far surpassing Richard Linklater's duo of "Waking Life" and "A Scanner Darkly"), and causes every frame to drip atmosphere.
  2. It's a genuine pleasure to find a movie with such a deep and intelligent portrayal of simple human lives, with all their minor triumphs and tragedies.
  3. The rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one.
  4. The rich texture of Hoop Dreams' drama is its greatest asset.
  5. 12 Years a Slave is by no means light entertainment but it provides a more worthwhile cinematic experience than about 90% of what's out there and the impressions it leaves aren't easily dismissed or dispelled.
  6. This may sound depressing and, in a sense it is, but these things are part of life and Haneke conveys them with a simplicity that is heartbreaking.
  7. Stranger than Fiction is a wonderful cinematic experience - a welcome way to spend a chilly autumn evening.
  8. The tone is perfect; this is one of those rare films that, despite being rooted firmly in the world around us, is utterly absorbing and capable of reducing the immediacies of life into abstract thoughts in the back of one's mind.
  9. Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.
  10. 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.
  11. The material is intellectual, but the treatment is not. Proof is a stirring motion picture that challenges our views on a great many things about life, some of which we take for granted. And, by opening up the play, Madden has made it less talky and more cinematic without losing the quintessential elements that made it such a success on stage.
  12. Ronin manages to remain focused on the plot and the characters, even while staging increasingly complicated pyrotechnic set pieces and offering its share of white-knuckle moments.
  13. Aronofsky's directorial style is simple and spare. There are no flourishes or attempts to convince us that he is a master of his craft.
  14. It offers a feel-good experience, but without the heavy dose of schmaltz that often accompanies such a production.
  15. The most important features of this "new" version are the digital cleaning of the print and the re-mastering of the sound. There are a few added scenes, but they are mostly insignificant and have been previously seen (at least by fans of the movie) on the laserdisc or DVD releases.
  16. From the first scene, however, it's obvious that the writing/directing team of Andy and Larry Wachowski are aiming for something considerably higher than rudimentary titillation. And, by taking chances and twisting conventions, they have hit paydirt.
  17. The Tree of Life falls short of masterful but retains a power that far too many motion pictures lack. It's about SOMETHING and, even when it fails, it does so in a manner that is interesting and not infantile.
  18. The movie not only represents the best effort from Eastwood since his Oscar-winning "Million Dollar Baby" but the finest acting we have seen thus far from two-time nominee Bradley Cooper.
  19. It's likely that 2004 won't offer a better movie about a mid-life crisis.
  20. The kind of expression of emotion that touches a deeper chord.
  21. A meditation on the pain suffered by a mother when her child turns out to be a monster, We Need to Talk about Kevin is the perfect tonic for holiday cheer.
  22. Magic on celluloid -- fresh, funny, romantic, and upbeat. You'll leave the theater with a smile on your face and perhaps a tear in your eye.
  23. A firecracker of a story - sharply written, superbly acted, and fast-paced.
  24. Flipped is Rob Reiner's best film in 18 years, and includes echoes of two of his most accomplished efforts, "The Sure Thing" and "Stand By Me."
  25. Together, Crystal and Ryan really click. Even though their characters are polar opposites (or perhaps because of it), their interaction has a charm and warmth that most motion picture pairings lack.
  26. For those who have gotten their Harry Potter fix entirely through the cinematic incarnation, the script is lucid and fast-moving.
  27. With solid performances and a terrific screenplay, this movie offers solid, no-frills drama that feels organic and believable, not contrived.
  28. Even some who generally enjoy gangster films may be turned off by this one, with its focus on dialogue over action and its harsh style.
  29. This is easily the best family feature of the early year.
  30. Witness states its position about clashing cultures with eloquence.
  31. This is a deeply cynical movie and, in that cynicism, it finds truth.
  32. The purpose of Bully is to educate and promote discussion. If the problem is not solved, there will be more Columbines and additional stories like Tyler and Ty's.
  33. Putting aside all the controversy, however, viewers are left with an expertly-directed and well-acted historical epic that disappoints only in its shallow perspective of the Irish/British and Irish/Irish conflicts.
  34. Les Miserables understandably cuts some of the stage production's numbers, but all of the major anthems are intact and wonderfully presented.
  35. In some ways, it's a simple character drama, but the central conundrum disallows an uncomplicated interpretation. I was never bored.
  36. Despite being a low-key production, La Promesse speaks volumes about how we treat other human beings and what it means to truly grow up.
  37. Crafted without a whiff of melodrama, this motion picture takes a steady, unflinching look at the plight of Jews in Warsaw.
  38. 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.
  39. The strength of the acting and the modulation of the screenplay transforms what could have been a run-of-the-mill Lifetime disease-of-the-week movie into something more insightful and intelligent.
  40. Dark City has as stunning a visual texture as that of any movie that I've seen...Visually, this film isn't just impressive, it's a tour de force.
  41. The dialogue -- especially that between Roy and Frank -- crackles with wit and intelligence (a rarity in films these days).
  42. The movie with which it has the closest relationship may be "Glengarry Glen Ross." The same sense of desperation, the same need to make the sale, permeates Margin Call. Both films are to some degree about the dehumanizing impact of money and both are driven more by characters than plot points.
  43. 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.
  44. Wong infuses his films with style and energy. His hand-held camera is restless, always moving and shifting. The action sequences are punctuated with unusual shots and stop-motion jumps. By filming Chungking Express in such rich, vibrant manner, the director uses visual images to underscore his themes.
  45. One of the best things about True Lies is that it's genuinely funny.
  46. 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."
  47. Hazanavicius isn't just making a "silent movie," he is attempting to enter a time warp and craft something that would fool all but the most studious and scholarly into believing it could have been a lost film from a bygone era. If his tongue is sometimes a little in his cheek, that's all part of the fun.
  48. Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.
  49. Sayles cannily blends drama, romance, mystery, and social observation into a satisfying, if slightly overlong, whole. In the hands of a lesser film maker, this material could easily have degenerated into routine melodrama, but Sayles keeps it on a consistently high level.
  50. One of the most obvious problems with The Godfather Part III is that it covers little new territory. The plot is highly derivative of the original.
  51. Skyfall can take its place alongside "From Russia with Love," "Goldfinger," and "On Her Majesty's Secret Service" as the best Bond can offer.
  52. A film as rich in its visual presentation as it is in its emotional resonance.
  53. Actually three movies in one: a wildlife film about how grizzly bears behave in their natural habitat, a character study of an eccentric environmentalist, and a chilling, voyeuristic narrative of how death stalks that man.
  54. The truth can indeed be stranger than fiction and, in this case, were the story to have originated in the imagination of the screenwriter, it could rightfully be criticized as artificial and contrived. But, disturbing and unlikely as it may be, this stuff actually happened, and pretty much as Craig Zobel relates it.
  55. Using perfectly composed shots to amplify an emotionally resonant story, the film successfully argues that "artistic" films do not have to be boring.
  56. 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.
  57. Chilling and creepy, and there's no denying that the most celebrated aspect of the film -- the Clarice/Hannibal connection -- could not have been accomplished with greater skill.
  58. Adams shines brightly, reinforcing the image she projected in Junebug and enhanced in Enchanted and Charlie Wilson's War. At this time of the year, it's tough to find a more diverting way to spend 90 minutes in a multiplex.
  59. In the midst of summer's cinematic thunder and lightning, this is a rare moment of tranquility.
  60. This is a tense, well-crafted motion picture that keeps viewers on edge. It's an exhausting 130 minutes; many viewers will leave the theater feeling drained.
  61. The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.
  62. Several flaws, mostly minor, keep Casino on a plateau slightly below that of the director's best (Mean Streets, Raging Bull, Taxi Driver, Goodfellas).
  63. Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.
  64. The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.
  65. 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.
  66. Imperfect as it may be, Bowling for Columbine is riveting stuff.
  67. A Bug's Life, like “Toy Story,” develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure.
  68. Whatever else it may be, Irreversible is disturbingly unforgettable. It is impossible to have a blasé reaction to a film this visceral. Indifference is not an option.
  69. Manages the task of being both heartbreaking and heart-warming.
  70. Kinetic, atmospheric, visually stunning, and mind-bending.
  71. 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.
  72. I suspect that mainstream audiences will find plenty of things to take pleasure in, even though some viewers may be bewildered by what the Coens do. But for those who share my taste in comedy, this is a must-not-miss.
  73. This role could represent a career performance for Cheadle, whose forceful and multi-dimensional portrayal keeps Hotel Rwanda at a consistently high level.
  74. Moonrise Kingdom is lovingly crafted with an attention to detail that is breathtaking while, at the same time, it displays genuine affection for its young protagonists.
  75. Reitman brings the same mixture of comedy and drama to this movie that he brought to "Juno."
  76. World Trade Center is Stone's most potent motion picture since "Platoon," and may be the most accessible across-the-board since "Wall Street."
  77. Watching Blue is the Warmest Color provides viewers with that rarest of motion picture opportunities: the ability to lose oneself in the life of another for three hours and to emerge having felt something.
  78. The casting is perfect. Webb has chosen leads who are familiar but not overexposed, and who are on equal footing (neither overshadows the other).
  79. Considering the strength of performances given by the 25-or-so teenage actors portraying the students, it's amazing that none of them have previous experience.
  80. This is a simple story of hope and triumph, of one girl with the drive to succeed defying the odds and following her dream. It's not an original tale -- movies like this abound -- but Nava's point-of-view is fresh.
  81. With its refined wit and glorious vision, The Hudsucker Proxy is certainly deserving of a wide audience.
  82. With Hugo, Martin Scorsese has accomplished what few in Hollywood are willing to try: make a movie for adults that arrives without sex, violence, or profanity and earns a PG-rating.
  83. The tale related here isn't all that original, but the honest presentation lends impact to a wrenching scenario.
  84. Its complex (yet not mystifying) storytelling, forceful character development, and superb cinematography make this a candidate for one of 2006's best offerings.
  85. It Follows doesn't try to get viewers to jump out of their seats. Instead, employing the time-honored technique of the "slow build", it pressures fingernails to dig into arm rests.
  86. With Get Shorty, Sonnenfeld has shown that broad appeal doesn't necessarily equate with stupidity. That's a lesson Hollywood should learn.
  87. 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.
  88. Mandoki has given us a powerful motion picture. Even those who disagree with the film's politics will be haunted by its message.
  89. When it's over, the sense is one of deep satisfaction - of having gotten to know a family in a way few motion pictures allow.
  90. With its rapid pace, smart screenplay, and top-notch acting, this is one of the 2007 Oscar season's most appealing and compelling adult motion pictures.
  91. Overall, it's a story of triumph and adventure - of oppression ended and freedom begun.
  92. This is as anti-Hollywood a film as I have seen in recent months, one which takes conventional plot ideas and uses them not to season a melodrama, but to enrich fully three-dimensional characters and create a forceful motion picture.
  93. With its rare mixture of intelligent plotting, flawless acting, and start-to- finish tension, Copycat is a force to be reckoned with.
  94. Nebraska is a rambling affair. It's about characters and dialogue. There's not much of a narrative to speak of - this is even more minimalist than "About Schmidt" or "Sideways."
  95. As is often the case with European films, the acting is superlative...The real standout, however, is newcomer Jaye Davidson, whose performance is, without exaggeration, stunning...Not to be missed.
  96. It's a noteworthy achievement for director Damien Chazelle to infuse a tale about the development of a musician with all the tension and intensity of a top-notch thriller. Whiplash is riveting.
  97. Good, solid entertainment.
  98. Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.
  99. Cinematic magic.
  100. 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.

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