ReelViews' Scores

  • Movies
For 2,757 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 Raging Bull
Lowest review score: 0 Knock Off
Score distribution:
2,757 movie reviews
  1. It offers a solid two hours of pure, escapist entertainment.
  2. The narrative is little more than a flimsy envelope -- it's the men and women who are sealed within that make Sling Blade worth watching.
  3. Taylor's approach to this material -- mixing occasional humor with undemanding drama -- works well enough that we don't care about the logical inconsistencies and plot holes. To that end, The Emperor's New Clothes ends up as a pleasant diversion.
  4. A great deal of excitement and adventure, all brought to the screen by using a somewhat irreverent tone that keeps the mood light without trivializing the characters.
  5. Not a positive triumph, but it does bring a smile to the face and, perhaps in some cases, a tear to the eye.
  6. A shamelessly uplifting motion picture that attains its feel-good status by forging a deep emotional connection between the undertrodden protagonist and the audience.
  7. Lightweight, although it exhibits enough heft for us to develop an emotional connection with the main character. I have always appreciated a smartly written motion picture, and, whatever flaws Igby Goes Down may possess, it is undeniably that.
  8. By limiting the number of special effects shots and treating the film more like a horror movie than a science fiction spectacle, Shyamalan creates a claustrophobic atmosphere and keeps the tension level high. There were times during this film when I was strongly reminded of "Panic Room."
  9. The director is a poet of images.
  10. This is a film to be enjoyed on a psychological level for its keen understanding of the contradictory impulses that drive sexual and social intercourse.
  11. As a date movie or for a solo night out, Blast from the Past offers more than standard romantic comedy fare.
  12. It's not a great film, but it succeeds in being both tender and cathartic.
  13. A fun, fantastic adventure, but, watching it, I had the sense that it could have been even better than it is. I was diverted and entertained, but never truly absorbed.
  14. There's still quite a bit of the essence of "Dead Poets Society" in The Emperor's Club. Thankfully, however, the level of schmaltz and manipulation has been greatly reduced.
  15. An engaging romantic comedy that would have been better if the audience wasn't constantly being distracted by mediocre video quality and jerky camera movements.
  16. Max
    Scholars, psychologists, and theologians can debate the point at length, but there's no doubt that Meyjes' approach is as provocative as it is controversial.
  17. What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.
  18. This film offers a compelling scenario of what could have happened. And Burger's look back through the recent mists of time is certainly no less likely or fascinating that Oliver Stone's in "JFK."
  19. Against the backdrop represented by stark images of abandoned buildings and lost dreams, the tale that is City by the Sea emerges, with the power of the visual cues giving this film its forcefulness.
  20. Offers nothing more spectacular than a character study. And, although The Good Girl's protagonist may be trapped by routine, that's one claim that can never be made about the movie.
  21. Ana is a vivid, vibrant individual and the movie's focus upon her makes it successful and accessible.
  22. It is possible, however improbable, that a "bad" movie can still be highly enjoyable. Formula 51 is such a film.
  23. Not a great film, but it's an excuse to have an evening of pure enjoyment with a little culture painlessly mixed in.
  24. Seems breezier and less self-conscious than the Mike Myers franchise.
  25. It's easy to admire what the Coens are trying to do in Fargo, but more difficult to actually like the film.
  26. I recommend the movie both for Nicholson's performance and for the opportunity to spend some time with the kind of man that we often meet in real life, but rarely see on screen.
  27. A remake, done right, was not a bad idea. And, fortunately in this case, it has been accomplished with some flair. The result is a lightweight source of entertainment that maximizes humor and minimizes serious stuff.
  28. This is a comic amusement park ride – a wildly uneven movie that offers tremendous pleasure for the moment, even if it doesn't stand up well to post-screening analysis and scrutiny.
  29. There are a few occasions when Antwone Fisher crosses the line to become too syrupy -- For the most part, however, the production radiates emotional honesty.
  30. Compelling material, especially for those who believe that the lives and loves of the dead can impact the trajectory of the existences of the living.
  31. Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.
  32. Has once again caught lightning in a bottle and unleashed it on audiences, blending humor, adventure, and a lot of nifty special effects-enabled gadgets and creatures into a movie that provides 1 1/2 hours of unfettered entertainment for children, grandparents, and everyone in between.
  33. 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.
  34. While Muriel's Wedding has its moments of exhilarating humor, it is, as often as not, downbeat and even mean-spirited.
  35. An enjoyable, although not ambitious, holiday outing.
  36. An unabashed excursion into feel good territory.
  37. 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."
  38. While there's quite a bit more graphic bloodshed and brutality here than in any of the late screen icon's vehicles, Payback is a worthy '90s successor to his kind of movie.
  39. Light, funny, and clever.
  40. May be flawed, but it's not easily forgotten.
  41. Isn't quite good enough to elicit a purr, but it represents better-than-average movie-making that doesn't demand a dumb, distracted audience.
  42. 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.
  43. K-19 will not go down in the annals of cinema as one of the great submarine stories, but it is an engaging and exciting narrative of Man confronting the Demons of his own fear and paranoia.
  44. A compelling motion picture that illustrates an American tragedy and shows the transformation of a decent family man into someone whose struggles with addiction and association with the wrong man bring him to an untimely end, with no hope of retribution.
  45. The result is a grim, startling motion picture.
  46. Russell is the reason to go to the theater. He will continue to hold your attention when things around him -– like the storyline -– lose steam and credibility.
  47. It is a dark, violent, sexually explicit motion picture that will surely offend timid viewers.
  48. An appealing, offbeat, one-hundred minute diversion for those who really are tired of monsters tearing down buildings and action heroes saving the world.
  49. Because the script is smart enough not to insult us and to develop a group of interesting characters, the act of watching the film is an entertaining experience rather than a tedious exercise.
  50. As is usually the case with a well made sports movie, you don't have to appreciate the particular sport in order to enjoy the movie. 8 Mile has not been made solely with fans of hip-hop music in mind.
  51. Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.
  52. It's the depiction of the love and sacrifice of a father for a son that makes Life is Beautiful worthwhile.
  53. Visually, X2 is a sight to behold, with impressive special effects and a dynamic sense of place.
  54. Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.
  55. Williams nails it.
  56. Unlike in many thrillers, the movie doesn't sandbag us with one last, cheap twist at the end. The Salton Sea contains its share of surprises, but none of them feels forced or artificial.
  57. Nicely paced and fits the bill for those in search of two hours of spy-based action and martial arts. The movie has credibility issues, but none are insurmountable in the name of entertainment.
  58. As a means to bring a classic novel to the attention of a modern audience, McGrath's Nicholas Nickleby is a success.
  59. The acting, especially by the male leads, is superlative.
  60. A touching, well-made motion picture whose only real flaw lies in the overfamiliar storyline.
  61. Pi
    For anyone who wants a movie to feed their intelligence and imagination more than their eyes and ears, Pi is a solid choice.
  62. Under the relentless glare of the Midnight Sun, the only darkness is in the hearts and actions of the characters.
  63. The biggest weakness of the novel is characterization, and the same flaw is fully evident in the screen adaptation.
  64. Through a mixture of imaginative storytelling, impressive animatronics, and irresistible cuteness, Babe casts a spell over all viewers -- young, old, or somewhere in between.
  65. The Italian Job isn't a masterpiece, but it gets the job done.
  66. Never pretends to be something that it isn't. Oh, there are costumes, to be sure, but that's just to facilitate the setting of the 18th century. Anyone who mistakes this for a costume drama is not aware of what kind of film they have ventured into.
  67. Pumpkin's two greatest strengths: the majority of the film is original and engaging, and Christina Ricci turns in another fine performance. This pair of assets alone is worth the price of admission.
  68. Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.
  69. The Man Without a Past is a modern fairy tale. It certainly is divorced from reality. Despite this -– or perhaps because of it -– it's a satisfying motion picture.
  70. Scream is a rarity: a horror movie spoof that succeeds almost as well at provoking scares as laughs.
  71. Those for whom Spirit was made will find this to be a thoroughly enjoyable production. As a "kids' movie", Spirit is a resounding success.
  72. The best Star Trek stories are allegorical - in addition to telling an involving story, they're about something other than going into space and blowing up enemy ships. Insurrection continues that tradition.
  73. An infectious celebration of life and love.
  74. An agreeable, albeit uneven, experience. Parker should take note, however, that, in some things, size doesn't matter and bigger doesn't mean better.
  75. It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.
  76. The picture is neither flawless nor foolproof, but it's smart and tight enough to keep audiences off-balance and entertained for the running length.
  77. The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.
  78. Neither as effective nor as ambitious as Kubrick's masterpiece, but it's still a compelling cinematic experience for those who are willing to abandon themselves to the unforced, measured rhythms of an issues-based motion picture.
  79. This is a pure popcorn movie -- the kind of film one can unabashedly enjoy for what it is. There's plenty of visual flash and dizzying action, but not at the expense of the other qualities that make for a complete motion picture experience.
  80. Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.
  81. The Spanish Prisoner is for anyone who likes to think and feel along with the characters.
  82. 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.
  83. Moves slowly -- it's an unhurried, talky affair that consists primarily of members of the small group of characters interacting.
  84. Solid performances, an intelligent script, and sure-handed direction. The result is a movie that kept me involved from start to finish.
  85. An occasionally maddening and sometimes brilliant motion picture that varies between being insightfully sharp and insufferably self-indulgent. Regardless of whether you appreciate the movie or not, it's likely to stay with you.
  86. The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.
  87. Enjoyable enough that the sprinkles of artificial sweetness in the mix don't do lasting or irreparable damage.
  88. Doesn't come close to masterpiece status. There are some great individual scenes and a tremendous performance by Daniel Day-Lewis, but the connecting material is mediocre, leading to the occasional twinge of dissatisfaction.
  89. A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.
  90. While not stunningly original, is fresh and compelling enough to hold the viewer's attention through its entire running length.
  91. Gets the most bang for its buck by letting the camera linger on the spectacle, and allowing tension, not flashiness, to be its hallmark.
  92. Infectiously entertaining comedy.
  93. Having funny lines and amusing gags is only half the battle. The rest is in the delivery, and that's where the trio of Martin, Latifah, and Levy excel.
  94. At its heart, Harrison's Flowers is a love story, albeit a graphic and difficult one.
  95. Not an indictment of the Catholic Church as a whole, but a thought-provoking look at what can happen when decent individuals are seduced by the power of their position.
  96. I'm sure mainstream audiences will be baffled, but, for those with at least a minimal appreciation of Woolf and Clarissa Dalloway, The Hours represents two of those well spent.
  97. Oscar's life has the potential to become a Greek tragedy, but Winick keeps things light enough that it resolutely stays a comedy.
  98. They center on the devilishly clever, exceedingly enjoyable interludes featuring the aforementioned rodent in situations and circumstances that recall the great animated work of the recently departed Chuck Jones.
  99. The best pure thriller of 2003 to-date.
  100. Oozes atmosphere. The humor keeps it from becoming too creepy, but there are still a few chills to be had.

Top Trailers