ReelViews' Scores

  • Movies
For 2,812 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:
2,812 movie reviews
  1. Isn't just an expose of the porn industry -- it's a provocative and involving character study, as well.
  2. A wonderful motion picture, even given the weaknesses of the source material.
  3. 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.
  4. American Splendor is deserving of accolades, not only because it tells an interesting story about a fascinating man, but because it does so with such freedom and freshness. I wish more of the comic book-inspired movies were like this.
  5. Two and one- half hours of gripping entertainment.
  6. The lack of family friendliness does not diminish what del Toro has achieved with this magical motion picture.
  7. Possesses the rare ability to make an audience laugh (and laugh hard) and cry, without ever seeming manipulative or going hopelessly over-the-top.
  8. 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.
  9. Martha Marcy May Marlene offers a challenging, emotionally riveting experience, even if the conclusion dangles at the edge of an unresolvable cliffhanger.
  10. It's refreshing to encounter a movie with a logical, intelligent approach to the dangers of zipping through time.
  11. 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.
  12. And, while there's nothing revolutionary or extraordinary about the dramatic narrative, the subtext gives Winterbottom's movie its force.
  13. The film is so exuberant that we don't care whether we're listening to Lou Reed's off-the-cuff comments about New York, watching Mel Gorham do a sexy dance in front of a mirror, or hearing Jim Jarmusch's ramblings on the romance of the smoking culture.
  14. This is a film of tremendous scope and emotional depth that uncovers the soul of a novel and brings it to life on the screen.
  15. A rousing tale that combines high adventure with emotional effectiveness. This movie works because it never loses sight of the characters no matter how epic the scope becomes.
  16. The problem with End of Watch, a gripping police drama, is director David Ayer's stylistic decision to shoot nearly the entire movie tripod-less. Or, to put it another way, there's a whole lotta shakin' going on.
  17. Atonement is effective at getting under the skin, and some audience members won't like that.
  18. Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.
  19. In terms of power and effect, Eyes Wide Shut approaches (but does not surpass) Kubrick's vintage work - it is thought-provoking and unsettling.
  20. By offering opportunities to laugh, cry, and cheer, Little Voice satisfies in a big way.
  21. The latest offering from Edward Zwick, the director of "Glory," is the kind of movie that doesn't require much effort to surrender to and enjoy.
  22. Taking advantage of the studio's breathtakingly intricate animation, directors Mike Gabriel and Eric Goldberg have breathed vitality into this, the fifth "new wave" Disney animated picture.
  23. This is no longer the James Bond we know from the '60s, '70s, '80s, and '90s. Welcome to the new world of MI6's most storied agent.
  24. Anyone who watches District 9 and doesn't think of Apartheid, Nazis, and Josef Mengele needs to spend some time reading a few history books.
  25. It's not comfortable but it is engrossing.
  26. A beautiful film, not only in the way it was photographed, but for the manner through which the characters are revealed to us.
  27. In a way, Fury and 1970's "Patton" could be considered companion pieces. Both deal extensively with tank warfare but from different perspectives.
  28. This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.
  29. The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic.
  30. Cholodenko, whose previous features include the pretentious "High Art" and the sudsy "Laurel Canyon," pitches The Kids Are All Right at right level - there's enough light comedy to leaven the melodrama and keep it from becoming overbearing.
  31. The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.
  32. Truth, they say, is stranger than fiction… and also potentially more nail-biting and harder to believe. Touching the Void is an extreme example of this.
  33. The other actress to stand out is, unsurprisingly, Queen Latifa, whose intense screen presence makes her a force to be reckoned with even when she's simply standing in the background, not saying anything.
  34. Thematically rich, impeccably crafted, and intellectually stimulating, the only area where this movie falls a little short is in its emotional impact.
  35. Using black humor, blood, and a pair of tremendous performances, Freeway hones in on its targets and calculatedly skewers them one-by-oneā€¦This movie is both grimly funny and thought-provoking.
  36. Damon's prior appearances as Jason Bourne make him credible in this role.
  37. Storaro and Bertolucci have fashioned a visual masterpiece in The Conformist, with some of the best use of light and shadow ever in a motion picture. This isn't just photography, it's art -- powerful, beautiful, and effective. (Review of 1994 Release)
  38. De Niro pulls the viewer into the world he has created and holds him there, sometimes spellbound, until the story is over and the end credits roll.
  39. This is a powerful tale of crime, guilt, and punishment -- a drama that incorporates elements of whodunit mystery/thrillers and police procedurals with a richly textured three-character play.
  40. This is truly a movie that children and their parents can both enjoy for different reasons.
  41. Downfall and Bruno Ganz are deserving of Oscars they will not get.
  42. Draws its audience along a rarely-traveled path whose scope can only be fully appreciated in the silence of the aftermath.
  43. Despite being slow and deliberate, it is often compelling and occasionally riveting. As "The Lives of Others" was in 2007, this is the first memorable movie of 2008.
  44. The exceptionally strong cast showcases American, British, and Australian actresses, all of whom show an astonishing willingness to appear in physically unflattering circumstances (no makeup, hair and skin caked with drying mud).
  45. Hulk represents the most involving superhero motion picture since "Superman" soared skywards in 1978. By taking its time to develop characters and situations, Hulk does what so many action/adventure movies fail to do -- allow us to really feel for the protagonists.
  46. Toy Story 3 enhances the legacy of its brand while providing exceptional entertainment value for viewers of all ages, especially for those who favor the brighter, livelier 2-D iteration over the 3-D gimmick.
  47. This is a movie to restore the faith of those who had given up on science fiction after "The Matrix Reloaded/Revolutions." By adeptly combining action and ideas, it proves that Hollywood can still produce astonishing entertainment.
  48. The two most moving scenes require extraordinary performances from supporting players...Forster is as deserving of a supporting actor nomination as anyone I have seen this year.
  49. By entering such fertile, intellectually stimulating and psychologically rich territory, Estes provides us with a freshman feature that is far beyond the generic coming-of-age tale Mean Creek initially seems to be.
  50. Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.
  51. A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.
  52. Isn't for everyone, but for those who are not bothered by the homosexual relationship, it offers a study in yearning, love, and loss. It didn't affect me as deeply as either "The Bridges of Madison County" or "The Remains of the Day," but it evokes some of the same feelings.
  53. It is possible, however improbable, that a "bad" movie can still be highly enjoyable. Formula 51 is such a film.
  54. As animated films go, this is easily the best of a weak year.
  55. The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.
  56. 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.
  57. This is one of those rare horror movies that concentrates on suspense and terror rather than on gore and a high body count.
  58. The result is a grim, startling motion picture.
  59. The film has been crafted with a consideration that the best family movies appeal not only to a young target audience but to the parents who accompany their offspring to theaters.
  60. Darkly effective, and its grip lasts longer than we might be entirely comfortable with.
  61. Bright, colorful, and exhilarating.
  62. The result is an effective portrait of a damaged individual uncertain about the meaning of love and commitment and the two key relationships in his life that teach him lessons about both.
  63. The movie succeeds because screenwriter Howard Himelstein keeps Wilde's best lines intact and the actors speak the words with practiced confidence.
  64. [The film] occasionally had me convulsed with laughter.
  65. Cloverfield's gritty, in-your-face style is uncompromising. If you're looking for a nice, clean movie filmed with a steadycam, you'll have to look elsewhere.
  66. This is a film of powerful ideas, impressive set design, and compelling performances.
  67. A tender movie about a poignant and difficult subject.
  68. Not a daring film, but it is immensely likable. Every once in a while, a movie comes along that, despite traversing familiar terrain, is made with enough all-around skill that it overcomes its clichéd origins. About a Boy is such a movie.
  69. It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.
  70. A feel-good movie that offers enough comedy and romance to warm the heart without risking a sentimental overdose.
  71. The Drop's unpredictability is organic rather than sensationalistic. The movie doesn't pull surprises out of thin air for the sole purpose of shocking an audience - it lets them develop naturally.
  72. It is a dark, violent, sexually explicit motion picture that will surely offend timid viewers.
  73. There's no question that State of Play feels a little rushed and the density of plot can be daunting, but the resulting tale unfolds with an urgency and sense of verisimilitude that will keep most viewers intrigued and involved without losing many along the way.
  74. A fairly routine thriller that gets high marks as a result of tight pacing and top-notch acting.
  75. One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.
  76. The three leads provide convincing performances, with Dakota Fanning being the standout.
  77. The film is fascinating and at times disturbing, but Winterbottom's arms-length style mutes any emotional impact.
  78. The strength of the screenplay and acting provide a satisfying, although not overwhelming, two hours of romance, drama, and tragedy.
  79. Easy A may not be a great movie, but it is a knowing and enjoyable one.
  80. Kids for Cash may not be inherently cinematic (a lot of the footage, after all, first appeared on television) but it is compelling.
  81. What Brown Sugar lacks in originality, it makes up for in charm.
  82. I suspect City of Angels is going to remind many viewers of “Ghost,” but there's a big difference: this film is more true and less manipulative.
  83. Valkyrie, despite being a more straightforward thriller, is less gripping than "Downfall," the most recent film in which Hitler had significant screen time.
  84. The ending is weak, and may be the result of the filmmakers writing themselves into a corner and not wanting to conclude things in a burst of nihilistic excess. Yet, even though it's a cheat, it retains a degree of resonance.
  85. Iron Man 3 has the stuff to please the devotees and divert everyone else, which is pretty much what's expected from the curtain-raiser of any summer season.
  86. At long last, someone has crafted a worthwhile superhero spoof.
  87. At times darkly funny and at other times depressingly tragic. It's safe to say there aren't any movies out there quite like this one.
  88. While Monster House is in no way groundbreaking, it's an enjoyable way to spend 90 minutes, and is suitable for all but the youngest children.
  89. A shamelessly uplifting motion picture that attains its feel-good status by forging a deep emotional connection between the undertrodden protagonist and the audience.
  90. Not great fantasy, but it's on more solid ground than "The Golden Compass" and will seem less baffling to some. There's enough here to keep adults engaged, which is an important component of any motion picture that wants to be known as "family entertainment."
  91. Coriolanus deserves to be seen, however, especially among those who enjoy Shakespeare without considering themselves purists. It's violent, bloody, fast-paced, and powerfully acted. And, if the language represents a barrier of sorts, it's worth remembering that some of the greatest phrases in history derive from Shakespeare's texts.
  92. Career Girls is a wonderful diversion -- expert film making that's all the more effective because it seems so natural and effortless. The movie lacks the grit of Naked and the emotional impact of Secrets and Lies, but, because it effectively transforms two strangers into people worth caring about, Career Girls can be regarded as nothing less than a success.
  93. A charming, family friendly endeavor and, although it falls short of the best Pixar has brought to the screen over its long association with Disney, it's nevertheless worth a trip to the theater, especially for kids.
  94. The result is an entertaining and sporadically engrossing two hours.
  95. The Simpsons is interested in being a family film, although this is one of those rare animated occasions when adults are the primary audience. I, for one, couldn't be happier.
  96. It's almost unfair to make the comparison because there are so many fundamental differences, but the closest recent movie to Romance and Cigarettes is "Moulin Rouge." The key likeness is easy to spot: the characters spontaneously break into familiar pop songs.
  97. 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.
  98. Anything Else may not be the second coming of "Annie Hall," but it has more wit and substance than almost every post-college romance that sees the inside of a projection booth.
  99. Miracle is inspirational and uplifting -- qualities we are as much in need of today as we were during the winter of 1980.
  100. This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.

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