ReelViews' Scores

  • Movies
For 2,822 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:
2,822 movie reviews
  1. This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.
  2. As a means to bring a classic novel to the attention of a modern audience, McGrath's Nicholas Nickleby is a success.
  3. What Dreams May Come has the sensibilities of an art film placed into a big-budget feature with an A-list cast.
  4. With its appealing blend of animated comedy, romance, and adventure, Shrek 2 follows the formula of its predecessor while maintaining enough originality not to come across as a direct copy.
  5. An incomplete memoir with spotty character development, but, in part because of the way it was filmed and in part because of the strength of the cast, it's still an effective entertainment.
  6. The Devil's Advocate is a highly-enjoyable motion picture that's part character study, part supernatural thriller, and part morality play.
  7. Philip Seymour Hoffman is in fine form as a man teetering on the edge.
  8. It offers genuine scares and chills without the self-aware, packaged feel of many horror/thriller films.
  9. It's better than most dramas showing in multiplexes.
  10. Ransom isn't a bad thriller, it's just not a great one. There's a little too much pointless running around, a subplot that leads nowhere, and a certain creeping predictability that argues for a shorter running length.
  11. While the sluggish beginning and ending mar this Star Trek outing somewhat, there's still enough here to please fans of the series, and, to a lesser extent, movie-goers in general.
  12. Winter's Bone is a welcome reminder that thrillers don't have to be loud and boisterous to grab the attention and keep it captive.
  13. May be the best family movie of the 2002 summer film-going season. There's a simple reason for this - the picture seems to have been put together with the recognition that some members of the audience may be above the age of ten.
  14. Sex Drive's first 30 minutes may lead one to suspect there's nothing new to be seen here, but it undergoes a transformation once the preliminaries have been dispensed with. John Hughes would be pleased - and so also might Judd Apatow.
  15. The chief pleasure to be derived from watching Cold Souls is that it's a journey into the unexpected.
  16. It is involving and entertaining, and features an intriguing, independent heroine.
  17. The two actors, Daniel Day-Lewis and Emily Watson (Breaking the Waves), give such forceful performances and interact so well that it's impossible not to be mesmerized by their interaction.
  18. Romanticizes gangland Chicago, but no more so than other films set in the same period. And, like almost every movie about the mob, this one deals with themes of family, loyalty, and betrayal -- albeit without the intensity of some of the great ones ("The Godfather," "Goodfellas").
  19. 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.
  20. One of the singular pleasures of films like The Invisible Woman is the window they offer into the lives of deceased authors who are known primarily to modern audiences only through the words they committed to paper.
  21. As a bio-pic, De-Lovely is pretty standard, run-of-the-mill stuff (albeit with an interesting framing device). However, as a "best hits" collection of Cole Porter's music, it is unparalleled.
  22. Eastwood has crafted something that works both as a sports drama and as an examination of the birth pains of the racially unified South Africa.
  23. It's a deliciously amusing and sometimes surprisingly poignant look at the difficulties of being a 15-year old outsider whose chief goals in life are getting laid and making sure his parents don't split up.
  24. What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.
  25. 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.
  26. This is a solid family film material, although one suspects the children will get a little more out of it than their parents.
  27. It's certainly a successful adaptation, features numerous memorable performances (mostly by the supporting players), and is worth a post-holiday expenditure of time and money.
  28. A lot takes place during The Painted Veil's two-hour running length, but most of what happens occurs within the hearts and minds of the leads.
  29. Diplomacy will work for those who appreciate dialogue-based character films in which plot is of secondary importance. This is a showcase for acting.
  30. At its heart, Harrison's Flowers is a love story, albeit a graphic and difficult one.
  31. With fresh dialogue and a willingness to show his protagonists in a less-than-favorable light, Demme has found a way to make this entry memorable.
  32. Rocky Balboa is not as good as "Rocky," but it allows us to forget the other four sequels, none of which was memorable.
  33. Cairo Time is a valentine to Egypt.
  34. Solid performances, an intelligent script, and sure-handed direction. The result is a movie that kept me involved from start to finish.
  35. Ultimately, Goodbye Solo works because the screenplay, actors, and director combine to craft honest, compelling individuals.
  36. The Night Listener is by no means an example of perfect filmmaking, but it is the kind of movie that stays with you.
  37. Amateur is a curious mixture of high art and delicious campiness, and the result is a funny, insightful, and almost-hypnotic motion picture.
  38. For the most part, Big Eyes works because of its restraint - something rarely claimed about one of Burton's cinematic offspring.
  39. It's a slight-but-enjoyable effort, and it features something a little on the surprising side: an optimistic ending.
  40. My sense is that adults will be more taken with Ponyo than their offspring.
  41. Well paced and energetic; it's unlikely to bore anyone.
  42. If you want daring or original, Fools Rush In isn't the movie to see. Like 90% of all romantic comedies, it follows a time-honored formula that allows little room for variation.
  43. Rather than perpetuating racial stereotypes, Eve's Bayou defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion.
  44. When Interview with the Vampire works, it's as compelling and engrossing a piece of entertainment as is available on film today. When it falters, the weaknesses seem magnified.
  45. The film is as faithful to Greek mythology as Thor is to tales of the Norse Gods, but it ultimately doesn't matter. Tarsem's goal is to give viewers an experience a little different from the norm and, to that end, he succeeds. The "wow!" factor is in full evidence.
  46. Compelling and life-affirming.
  47. At a time when many mystery thrillers fall apart in the final fifteen minutes, Headhunters maintains its integrity.
  48. This film is an autopsy of a family that has been sundered by the death of the father and primary care-giver.
  49. War of the Worlds is not vintage Spielberg, and it's on the grim side for a summer action blockbuster, but it's worth the time and money invested.
  50. Talky and intelligent, and never takes the cheap way out. It's also something of a downer.
  51. Does what it sets out to do: educates about a mostly unknown historical figure (without doctoring the facts too much), entertains, and uplifts.
  52. At a time when juvenile movies often dominate theaters, this is an adult movie through-and-through, and evidence that there are filmmakers who care about entertaining a more mature audience.
  53. Slow moving and low key, and, when the final credits roll, you feel like you have spent nearly two hours in the company of a few real people, not constructs of a writer's imagination.
  54. This is a more personal movie for Burton than one might initially suspect. The very fact that he elected to re-tell this story after 28 years is an indication of how much it means to him. And I wouldn't be surprised to learn that, as a kid, he had a dog named Sparky.
  55. This is a thriller with a high quotient of comedic elements or, if you prefer, a comedy with a high quotient of thriller elements. As is always the case with a production of Joel & Ethan, it's difficult to classify, but that doesn't make it any less enjoyable.
  56. The film is at its best when it is at its most goofy, at times coming close to the laugh-aloud outrageousness of Will Ferrell's "Anchorman."
  57. The characters are interesting and capture our sympathy and, although there are things to criticize about the final forty-five minutes, it brings the saga to a conclusion. There's a lot to like about The Place Beyond the Pines even if it isn't the feel-good movie of the spring.
  58. It's great fun, but certainly not great art.
  59. Kingdom of Heaven may have problems, but it delivers.
  60. If there's anything special about the film, it's that on this occasion, the emotional realism of the characters, especially Slade, is heartwrenchingly believable.
  61. There aren't many surprises, but the script is written with a degree of wit, and there are some bitingly funny one-liners (all of which are delivered by Garofalo).
  62. This is a dark comedy; the tone is such that it benefits from Jack Black emphasizing the less appealing aspects of his personality.
  63. Predestination is science fiction for a thoughtful crowd. This isn't an action oriented film nor should it be mistaken for a blockbuster.
  64. It's still a lot of fun, and I welcome any film that keeps me entertained for nearly the entire running length.
  65. It's pretty much assumed throughout art and literature that the collapse of civilization will result in the rise of barbarism. That assumption underlies Mad Max, where the strong prey on the weak, and Max steps in to be the equalizer.
  66. The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.
  67. The characters in Brick Lane must define themselves and determine where "home" is before they can move forward, and that dramatic conflict lies at the heart of this motion picture.
  68. Casting helps the film work. Uma Thurman is among the few actresses who can pull off this role: the hot, buff, slightly deranged superhero and her dowdy, un-sexy alter-ego.
  69. Regardless of the medium, this is an effectively brutal story of swords, sorcery, demons, and heroes, with an Oedipal hint or two thrown in for flavor.
  70. When it comes to mockumentary parodies, no one does it better than Christopher Guest.
  71. Westerns often take themselves seriously and, while Appaloosa is no "Blazing Saddles," there's a refreshing vein of understated humor running throughout the production.
  72. Robots is more than a load of spare parts, but there are some sprockets and rivets missing.
  73. Kevin Bacon and Marisa Tomei make the most of their limited screen time, injecting straight comedy into a movie that occasionally comes close to losing its sense of humor.
  74. 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.
  75. Once you leave Wonderland, you may feel like you need a shower, but, while you're in the moment, it's a compelling journey into the depths of hell on earth.
  76. While any or all of the events related during the course of the film might seem to form the backbone of an unendurably boring motion picture, everything comes alive because of Poppy.
  77. The movie The Road is nowhere close to its literary sire, but it's probably the best one could hope for from a movie version.
  78. Functions as much as a primer on how to conduct underground filmmaking as it does an offbeat romantic comedy.
  79. Catch a Fire isn't edgy like some of Noyce's previous titles nor is it a big-budget endeavor with A-list stars. Instead, it's a simple and sincere tale of inspiration.
  80. Despite being well made and supremely acted, Candy is a true feel-bad experience.
  81. Under the relentless glare of the Midnight Sun, the only darkness is in the hearts and actions of the characters.
  82. With Honeydripper, Sayles has done what he always does: bring together a group of characters and allow us to relish their interaction. His affection for the characters is both obvious and infectious. We like them, warts and all.
  83. The Upside of Anger belongs to Joan Allen (for whom director/screenwriter Mike Binder developed the project).
  84. Although targeted primarily for girls in the 12-to-19-year old range, there's enough truth about friendship, love, and life in The Sisterhood of the Traveling Pants to offer solid entertainment to almost anyone who gives it a chance.
  85. Scream is a rarity: a horror movie spoof that succeeds almost as well at provoking scares as laughs.
  86. Structured as a comedy, albeit a dark one.
  87. A flawed but entertaining (and perhaps informative) tale.
  88. Offers the prospect of seeing beyond the stereotypes that plague Native Americans in even the best films.
  89. In a head-to-head comparison, one would be hard-pressed not to declare that "Precious" is the better film - it makes fewer compromises and doesn't shy from showing the true ugliness only hinted at in this movie, but The Blind Side is more accessible. It's easier to digest. In the end, both films tell stories of triumph over adversity - a category of drama that uplifts while offering a dollop of social commentary.
  90. Stirring and emotionally forceful.
  91. 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.
  92. For a viewer in the mood for something rude, crude, and lewd, it would be difficult to find a more satisfying food.
  93. Jack the Giant Slayer is an enjoyable fantasy/adventure whose magic is partially undermined by marginal 3-D.
  94. For once, with How Stella Got Her Groove Back, Hollywood offers a love story that concentrates on the simple nuances of the romance rather than smothering us in an overly- melodramatic narrative featuring old boyfriends, jealousy, and hard-to-swallow misunderstandings.
  95. It's better than 90% of the animated fare of the last few years. It's refreshing not to have to qualify the movie's appeal by appending the words, "for the kids."
  96. Gallo's script is quirky and filled with a number of hilariously strange comic moments.
  97. Vintage Moore, which means that it will enthrall many and enrage an equal number of viewers.
  98. Heartfelt, but not to the degree that it becomes cloying.
  99. For the most part, this movie hits the right notes and gives its audience a dose of white-knuckle tension.
  100. Chris Cooper, the consummate professional, has no trouble making viewers feel sympathy for a potential killer.

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