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 The Dark Knight
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,757 movie reviews
  1. Eventually, Seabiscuit settles into a nice rhythm, and, as it enters the stretch run, it exhibits all the necessary elements of a good sports movie. Like the horse it's named after, Seabiscuit has a lot of heart, and, in the end, that's what won me over.
  2. Story itself is richly rewarding and uplifting -– the coming-of-age tale of a girl who must defy the odds to achieve her goals. There's plenty of humor to keep the overall tone light.
  3. When it comes to mockumentary parodies, no one does it better than Christopher Guest.
  4. It's a calculated formula for success, and makes for entertaining viewing, but those expecting something with the spark of the first two pictures may be disappointed.
  5. Many times, films that combine comedy and drama do so in an uncomfortable and unwieldy manner. In Slums of Beverly Hills, the approach is natural and satisfying.
  6. A bloody fairy tale with no moral and a lot of juice.
  7. A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.
  8. 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.
  9. Has enough charm and whimsy to capture the attention and imagination of children and parents alike, and arguably represents one of the best live-action family films to enter theaters this year.
  10. As a satire and an off-the-wall comedy, Bubba Ho-Tep hits the bullseye. As a horror movie, it's less successful. Maybe we're too busy laughing to be scared.
  11. Offers everything a good movie of this sort should: plenty of suspenseful action, a few good laughs, and a share of obligatory "reluctant buddy" bonding.
  12. Paradoxically, there's a lot less gore. There is blood, of course, but nothing excessive by slasher-movie standards, and there are no depictions of spilled entrails. Craven has remembered that scares are more important that graphic displays of human insides and bodily fluids.
  13. 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.
  14. Tarantino keeps things moving along nicely, with a heavier dose of humor and less violence than in Pulp Fiction, but, on the whole, this movie seems more like the work of one of his wannabes than something from the director himself.
  15. Despite its themes of terminal illness, dysfunctional families, and the need to heal old wounds, the film spends more time provoking laughter than tears.
  16. The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.
  17. Works not primarily because it's a strange and original brew, but because it accomplishes its goals without seeming to force things. The blending of reality with dreams, memories, and imagination is done flawlessly.
  18. May be light when it comes to psychological questions, but its detailed accounting of Glass' actions makes for fascinating viewing.
  19. Appealing and genial with plenty of solid laughs, and worthy of a recommendation for those who appreciate this kind of thing. Just don't expect material that's edgy, dark, or challenging. Consider Love Actually the antidote to "Mystic River."
  20. For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.
  21. So jam-packed with self-referential humor, pop culture cameos, and nods to some of the greatest moments in animation, that it's almost impossible not to like it.
  22. Does not surpass Kevin Costner's "Open Range" for the title of Best Western of 2003, but it's a worthy effort and makes for an enjoyable (if slightly overlong) two-plus hours.
  23. The acting is uniformly superb.
  24. A highly satirical work, albeit without the "in your face" style of "South Park."
  25. It has two modes: dark and darker, and dares to do some things with the Christmas motif that haven't been done since Norman Rene's "Reckless."
  26. 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.
  27. The best part of the film, unsurprisingly, is William H. Macy's low-key portrayal of Bernie.
  28. Big Fish is a clever, smart fantasy that targets the child inside every adult, without insulting the intelligence of either.
  29. One of those films that does many things right, and that places it among the year's best period pieces. It's a cut above the usual BBC costume drama.
  30. 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.
  31. Unlike last year's disastrous "Pinocchio" with Roberto Benigni, this movie proves worth the time, effort, and money to get the whole family to a theater.
  32. 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.
  33. Miracle is inspirational and uplifting -- qualities we are as much in need of today as we were during the winter of 1980.
  34. Gallo's script is quirky and filled with a number of hilariously strange comic moments.
  35. Perhaps the biggest surprise of all is that the film doesn't resort to an easy cheat at the end. It plays things straight, and still manages to satisfy, making this one of Sandler's most appealing outings to date.
  36. It's a simple story told well, with plenty of lighthearted moments and kernels of thought-provoking material, but little to really excite the cinematic appetite.
  37. It is not a step-by-step chronicle of German reunification, but it gives a perspective of the time. It's a bonus that this comes as part of an engrossing and well told story.
  38. The result is an entertaining and sporadically engrossing two hours.
  39. Offers the prospect of seeing beyond the stereotypes that plague Native Americans in even the best films.
  40. The key to the film's success is that it uses the burned out premise as the springboard for a comedy, not an action flick.
  41. Fascinating and satisfying the way the diverse threads are knitted together into a single tapestry.
  42. This is essentially a familiar story told with consummate skill.
  43. Despite the many laughs Love and Death offers, it never takes cheap shots. It has a vibrant, beating heart - and that makes the comedy all the more worthwhile.
  44. It's a taught, entertaining motion picture that serves its purpose.
  45. With some surprisingly strong character interaction, there's a lot to like about this movie, at least for those willing to look beyond all the bloodshed.
  46. The movie worked for me both as a commentary on the electoral process and as a slightly overcooked thriller.
  47. A fairly routine thriller that gets high marks as a result of tight pacing and top-notch acting.
  48. This film is an autopsy of a family that has been sundered by the death of the father and primary care-giver.
  49. A deliciously nasty, dark comedy.
  50. A cagey, claustrophobic noir thriller highlighted by a few clever plot twists, some nicely- honed dialogue, and a half-dozen top-notch performances.
  51. As Nina, Aniston not only displays a surprising capacity for both comedy and drama, but she shines with the kind of star quality that only a handful of current performers exhibit.
  52. Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.
  53. Calling this version of Dawn of the Dead a remake is applying a misnomer. It's more of a re-imagination.
  54. As was true for "In the Company of Men," LaBute doesn't care if viewers are offended. Supported by a fine group of actors, he tells the story without compromises, and that gives us a refreshing alternative to multiplex fare.
  55. May not be an absolute triumph, but it's significantly better than just a good effort.
  56. In his long and distinguished career, only his Oscar-winning performance in 1983's “Tender Mercies” was this raw. Duvall becomes Sonny. The energy and passion of a preacher are all present.
  57. Dogville isn't for everyone, but there's some intellectually stimulating conversation fodder for those with the patience to navigate the film's rough terrain.
  58. What Dreams May Come has the sensibilities of an art film placed into a big-budget feature with an A-list cast.
  59. Hellboy likely won't be the best comic-to-screen adaptation this year, but, squared off against its early-season challenger, Marvel's "The Punisher," this is the winner.
  60. Builds up enough good will during its successful first half that we're willing to forgive some of the strange and disappointing convolutions the plot takes us through during the final 45 minutes.
  61. With its unique perspective on both the coming-of-age and thriller genres, the movie deserves to be seen by a wider audience than the one that normally frequents subtitled movies.
  62. As it currently stands, Kill Bill is a victim of its director's ego and its distributor's greed. The moments of greatness make it worth seeing, and there's certainly plenty of entertainment to be found here, but it's hard not to lament what might have been.
  63. Darkly effective, and its grip lasts longer than we might be entirely comfortable with.
  64. 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.
  65. Solidly entertaining.
  66. For what Man on Fire delivers, it's worth enduring Scott's hyperkinetic visual techniques.
  67. The issue may be serious, but the tone is lighthearted, and that, more than anything else, makes Super Size Me a palatable cinematic entrée.
  68. 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.
  69. Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.
  70. Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time.
  71. A fast-paced, entertaining motion picture that replaces gritty tension with a lightly-dramatic character interaction that occasionally borders on straight comedy.
  72. If you like romantic movies but find Hollywood's increasingly sterile formulas to be a poisonous bore, Love Me if You Dare offers an antidote.
  73. Although none of the characters are fleshed out much beyond the comic book level, we nevertheless find our sympathies aligning with them.
  74. Although Harry Potter and the Prisoner of Azkaban stands well enough on its own, it has a "middle chapter" feeling. In other words, there's no real beginning or ending. Little is resolved and the film's climax is low-key.
  75. Doesn't have any pretensions. It is what it sets out to be: an effective piece of big money, early summer entertainment designed to blow viewers away.
  76. 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.
  77. A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.
  78. To be savored for its unhurried approach and simple fish-out-of-water story that favors individual character-driven moments over dramatic plot developments.
  79. There's plenty of humor in the film, but the movie is often a little uncomfortable to watch, and Napoleon is not an easy guy to like. Rooting for him takes effort.
  80. In order to appreciate I'll Sleep When I'm Dead, you have to be willing to absorb unhurried film noir, and to accept that the film's version of "closure" is a little frustrating.
  81. Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.
  82. 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.
  83. Well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result.
  84. It's hard to say whether Anchorman is the funniest movie of the year - it has enough offbeat and gut-busting moments to make it worth consideration in that category.
  85. Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.
  86. Offers two hours of solid entertainment.
  87. Enjoyable and inviting.
  88. For those who aren't offended by extreme profanity and violence, Suicide Kings offers a kinetic and surprisingly funny two hours.
  89. Eastwood has captured a peculiar yet involving slice of life.
  90. One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.
  91. While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.
  92. It's a movie of moments, some of which are side-splittingly funny. Arguably, this is the most uproarious comedy that Allen has ever done.
  93. There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.
  94. Tomorrow Never Dies is a better film than Goldeneye. In fact, it's the best Bond film in many years.
  95. For those who like the director's body of work, appreciate "The Twilight Zone," and have a high suspension of disbelief threshold, The Village is likely to satisfy.
  96. As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.
  97. It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.
  98. Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.
  99. It offers genuine scares and chills without the self-aware, packaged feel of many horror/thriller films.
  100. It is involving and entertaining, and features an intriguing, independent heroine.

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