ReelViews' Scores

  • Movies
For 2,825 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Lost in Translation
Lowest review score: 0 Feast
Score distribution:
2,825 movie reviews
  1. To reboot the X-Men franchise, director Bryan Singer, who first gave these characters screen life fourteen years ago, has crafted a continuity-lover's nightmare.
  2. Lately, it seems that film noir has become the province of independent productions. As a result, it's refreshing to see a big-budget, studio effort of this sort that does nearly everything right.
  3. Delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy.
  4. Has as much depth as it has energy and action.
  5. 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.
  6. The Spectacular Now's DNA contains elements of the John Hughes teen dramadies of the '80s. There's also a little Cameron Crowe - in fact, replace the soundtrack with something more dynamic and it might be easy to mistake this with a Crowe film.
  7. In a time when, more often than not, sequels disappoint, it's refreshing to uncover something this high-profile that fulfils the promise of its name and adds another title to a storied legacy.
  8. One of its most obvious strengths is that it can satisfy many different types of audiences -- those who demand something substantial from their motion pictures, and those who could care less.
  9. Election has the sharpest satire of any teen movie made in years. Like the best lampoons, it attacks by exaggerating reality ever-so-slightly and targeting a broad range of subjects.
  10. It's those moments and others and the way they are tied together by Shepherd's tongue-in-cheek narration that cements A Christmas Story as one of those rare must-see holiday movies, even for those who don't celebrate Christmas.
  11. 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.
  12. After the chaos of "Transformers: Revenge of the Fallen," it's refreshing to encounter a science fiction film that respects the intelligence and attention span of an adult.
  13. Despite the occasional brutality of the material, Django Unchained includes some of the best laugh aloud scenes of any 2012 motion picture, regardless of the genre.
  14. Mrs. Brown will delight and touch any viewer who seeks it out.
  15. It's funny, affecting, and appealing, and more worthy than much of what's out there. Often, coming-of-age stories rely forcefully on formulaic narrative developments but The Way Way Back remains fresh from start to finish.
  16. McNamara has a reputation for being intelligent and belligerent. The Fog of War validates the former characteristic, but not necessarily the latter.
  17. Balances character development with plot, and that's crucial to its success.
  18. I wouldn't go so far as to classify Jacob's Ladder as a masterpiece, but it is smart and compelling and unquestionably worth a first or second look.
  19. A compelling contemporary thriller with the added benefit of also being an engrossing character study.
  20. The best superhero movie since "The Dark Knight" (and far less serious in tone or approach), Kick-Ass earns its name in every way.
  21. Still Alice is undoubtedly a tough movie; it contains life-affirming moments but its perspective is what makes it unique.
  22. The versatile actor brings the full weight of his talent to bear on a difficult role. DiCaprio has to hint at unpleasant secrets in Cobb's past while forging a bond with the audience. It's up to the performer to make Inception more about human beings than about special effects. He succeeds and that's one reason why this movie isn't only about challenging ideas and eye candy.
  23. Lincoln paints a powerful and compelling portrait of the man who has become an icon. We don't need to see more of his life to understand how rare a figure he was - this window is more than sufficient.
  24. Not as corrosive as Russell's debut feature, "Spanking the Monkey," it's just as wild, just as strange, and even funnier.
  25. One of the most uplifting and delightful films to have come along this year.
  26. Begins almost as a nostalgic excursion, but quickly detours into a powerful and telling story that examines forbidden love, racial tension, and other issues that are as valid today as they were in the 1950s.
  27. Overall, Part 2 tells a more compelling and emotionally fulfilling tale than the one related in Part 1, although that could be a result of this movie having a conclusion - something its predecessor notably lacked.
  28. Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go.
  29. Visually, it's more impressive than Disney's “Toy Story.”
  30. The brilliance of Bennett's movie is that it concentrates on the characters and their interaction and never becomes a mouthpiece for one side or the other with respect to the death penalty.
  31. Recognizing that many of the movie's elements are lifted from actual events elevates the importance of what the movie has to say.
  32. There's no doubt that it's a flawed movie, but it's one of the most wonderfully entertaining flawed movies made.
  33. In today's environment, it's a rare thing to find a movie with interesting characters in dense, intelligent storylines, but that's what Syriana offers. It is one of the best films of 2005.
  34. There are moments of fun and humor, to be sure, but the undercurrent is of a far more serious, "adult" nature. The Lion King is primarily about guilt and redemption.
  35. Talk about taking things to a new level… Theaters showing Fury Road should have seat belts installed.
  36. 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.
  37. Brothers is arguably the most successful remake of a foreign film since Martin Scorsese reworked "Infernal Affairs" into "The Departed" and won the Oscar.
  38. Wonderfully romantic and romantically bittersweet. It's not about forever; it's about now.
  39. Not only was I touched by the characters and engrossed by their story during the 120 minutes they were on screen, but I could have easily spent another hour or two with them.
  40. Has enough genuine laughs to eliminate the potential twitters and snickers, and it treats Edward and Lee as people. We end up caring about what happens to these two individuals, even as we smile and laugh at their antics.
  41. Mrs. Parker and the Vicious Circle is a top-notch movie. Everything is in place -- a striking lead performance, solid supporting players, a well-written script, and, above all, expert direction to merge the ingredients.
  42. The cast is remarkable. Five of the seven principal cast members own previous Oscar nominations.
  43. What a horror film SHOULD be - dark, tense, and punctuated by just enough gore to keep the viewer's flinch reflex intact.
  44. A solid starting point for those unfamiliar with Apted's greatest work, and a must-see for those who have been down this road before.
  45. Captain Phillips works precisely because Hanks isn't a muscle-bound, gun-toting figure (nor does he turn into one during the course of the movie). Placed in an untenable position, he uses guile and intelligence instead of brawn and weapons to enhance his survival chances.
  46. More substantive than the average thriller/road movie.
  47. A Nightmare on Elm Street is tailor made for those who like their gore leavened with thought-provoking ideas - something that is a rarity in this genre.
  48. It delivers on everything it promises, from the modern day reverse-Cinderella fable to a fabric of low-key humor. [Review of re-release]
  49. The sophomore feature effort from director Destin Cretton (remaking and expanding upon his 2008 short), this movie avoids the numerous landmines awaiting someone venturing into this territory and, as a result, emerges triumphant.
  50. 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.
  51. Milk feels like an important picture, but not in a way that makes it tedious to watch. There's no pretentious sheen to the proceedings.
  52. This is a beautifully-shot film, and director Robert Redford (who also provides the voice-over narration) has paid painstaking attention to detail.
  53. Those in search of escapism should not look to this motion picture, but anyone willing to assume the risk of facing the ugliness of Johnny's world will find a startling, gut-wrenching, eye-opening experience.
  54. The movie works not because of twists and switchbacks in the narrative, but because of the skill with which Cortés has conceived this singularly disturbing nightmare.
  55. In addition to their deft skill with light drama, the directors understand well-placed humor, and throw just the right amount of comedy into the mix to make Big Night fun without turning it into an outright farce.
  56. Not only is Pleasantville a satire, a fantasy, and a visual marvel, but it's the best kind of feel-good movie.
  57. Taken on its own, Saving Mr. Banks is a pleasant, crowd-pleasing endeavor. For those with a soft spot for Mary Poppins, however, it's a treasure.
  58. Although most movies favor passion and true love, The Umbrellas of Cherbourg shows that another less demanding, more subtle kind of love has its own appeal.
  59. De Niro successfully varies the tone, keeping it light and playful at times, dark and somber at others. A Bronx Tale is his triumph, and a testimony that all those years of watching the best in the business have borne fruit. If what is yet to come has any of the promise shown by this debut, we may be witnessing the birth of yet another directing talent.
  60. Superman II delivers on the promise hinted at in "Superman." Which is the better film? That's a hard choice to make, since both succeed in different ways.
  61. Juno has a great heroine and is blessed by a screenplay that doesn't try to do too much and finds the perfect ending.
  62. At times brutal, at times touching, the movie stands out as one of the better "prestige" productions offered for cinematic consumption during the waning weeks of 2007.
  63. The most visually inventive comic book adaptation to make its way to a movie screen.
  64. From a pure entertainment perspective, it is arguably the most enjoyable motion picture of the season. Sky High is funny, smart, energetic, subversive, and has a few substantive things to say.
  65. 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.
  66. Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.
  67. The best thing I can say about Apocalypto is that, despite belonging to an overpopulated genre, it's unlike any other movie to reach theaters this year and, because it is as visual an experience as it is visceral, it is best seen on a large screen.
  68. 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.
  69. The screen translation of Catching Fire, the second volume of the series, offers its audience many of the elements that made The Hunger Games compelling, but adds to that by deepening the themes and emotional currents and traveling to darker destinations.
  70. Overall, while Spirited Away may not be as complex and imaginative as "Princess Mononoke" in some areas, it is as beautifully rendered and no less sophisticated in its outlook. Miyazaki has provided another triumph, and, in the midst of the quality fall-off of Disney’s in-house animated projects, a reason for animation-lovers to rejoice.
  71. The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.
  72. Gives life and meaning to an event that is little more than a footnote in history books (if that).
  73. Where Happiness shines, however, is in the series of extraordinary performances given by the members of the diverse ensemble cast. Leading the group is Dylan Baker, whose turn as Bill is astounding.
  74. 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.
  75. The story is timely and powerful, and the performances of Hanks and Washington assure that the characters will not immediately vanish into obscurity.
  76. Cusack invests such sincerity in his portrayal of Lloyd that it's impossible not to root for him to get the girl. He's the classic underdog that we all think of ourselves as -- earnest, engaging, and impossible to resist because of his flaws, rather than in spite of them.
  77. One of the most refreshing things about this movie is the manner in which it combines genres in unexpected ways.
  78. Georgia is a tour de force for Leigh, and her portrayal of the troubled, passionate Sadie lingers in the mind long after many of the movie's plot details have faded.
  79. The average thriller, even if it's set in a faraway or futuristic world, tends to offer visceral, ephemeral excitement, and not much else. However, while Gattaca has the energy and tautness to compare with the best of those, its thought-provoking script and thematic richness elevate it to the next level.
  80. It's a superior thriller made with the guts and gusto that too many recycled entries into the genre fail to exhibit.
  81. 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.
  82. Dreamgirls is good and at times it touches greatness.
  83. Ricci's performance is brave and effective - the most provocative in a career that has rejected Hollywood norms.
  84. This film is the complete package, and offers a thoroughly satisfying two-plus hours in a darkened theater.
  85. Emotionally challenging and honest.
  86. The real wreckage in Locke is to the main character's old life, and the manner in which it is depicted makes this one of the year's most intriguing motion pictures.
  87. The characters are at the heart of A Simple Plan, and the gruesome complexity of their interaction elevates this film to the level of a midwinter treat.
  88. 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.
  89. Can be best categorized as a fantasy adventure. Unlike many animated movies, it's not a musical, nor is it overstuffed with age-appropriate comedy,
  90. It's a thinking person's thriller, where pyrotechnics give way to plot, character development supplants fight scenes, and adrenaline does not short-circuit intelligence.
  91. Beloved is for those who want substance from a movie, and don't mind facing uncomfortable truths in the process.
  92. An engaging and powerful motion picture, every bit the equal of Merchant Ivory's best work, and certainly the most emotionally-wrenching tale they have brought to the screen.
  93. Body of Lies neither panders nor condescends. It involves current events and has a political viewpoint, but it overplays neither.
  94. If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.
  95. The sex is REALLY hot. Not hardcore pornographic (at least by my definition of the term) but close.
  96. 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.
  97. It's neither glamorous nor erotic and director Steve McQueen has taken an unflinching and non-judgmental view of sexual addiction in Shame.
  98. It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.
  99. That Sayles is able to say these things in the context of a compelling story with well-defined characters makes this one of the early fall triumphs of 2004.
  100. These are two fascinating characters, and watching them thrust and parry proves to be as impossible to turn away from as observing a grotesque roadside accident.

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