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 3.6 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. 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.
  2. It's familiar enough to be comfortable but not so familiar that it feels worn and repetitive.
  3. A lot of people are going to describe it as a waste of time, yet there's a likeability to the quirky characters that held my interest while tickling my funny bone.
  4. Although Shrek Forever After is not as funny or as impudent is its great-grandparent, some of its comedic jabs land solid blows to the funny bone.
  5. Then again, it's worth noting that this Hollywood production is actually saying something, rather than just churning out eye-popping special effects while relying on a regurgitated plot.
  6. 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.
  7. The Hunger Games represents the best first book adaptation of any of the three series. It surpasses Christopher Columbus' "Harry Potter and the Sorcerer's/Philosopher's Stone" by a whisker and Catherine Hardwicke's "Twilight" by considerably more than that.
  8. 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.
  9. The humor in this movie is smart enough that even a moderate level of intoxication or inebriation is not necessary to enjoy it.
  10. The special effects are first rate - not always the case with Star Trek movies, although Abrams has been given a budget the likes of which directors Nicholas Meyer, Leonard Nimoy, and William Shatner would have salivated over.
  11. Marshall, who helmed the underrated horror film, "The Descent," has a flair for the visual. Some of the mountainscapes, captured by use of a helicopter, are nothing short of spectacular.
  12. 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.
  13. The acting is uniformly superb.
  14. Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.
  15. An amazingly over-the-top anti-racism parable but, despite its obvious shortcomings, it is nevertheless effective and affecting.
  16. This one delivers.
  17. Not a great film, but it's an excuse to have an evening of pure enjoyment with a little culture painlessly mixed in.
  18. This is essentially a familiar story told with consummate skill.
  19. Despite providing an opportunity to spend 147 minutes in the company of people we have grown to know and love over the years and advancing the narrative toward its final cataclysmic confrontation, The Deathly Hallows Part One underachieves. At a time when Harry Potter should be soaring to new heights, it remains curiously grounded.
  20. While such a loud, brash interpretation may not go down in cinematic history as the definitive version of the play, hopefully it will open a few eyes and widen the audience willing to venture into any movie bearing the credit "based on the play by William Shakespeare."
  21. Fuqua takes a genre picture and, by diverting the story onto an unconventional path, generates a sense of urgency. Tears of the Sun is not a great movie, but it is satisfying, and represents an example of accomplished filmmaking.
  22. This is a simple story of human drama that provides an incentive to spend a couple of hours in a movie theater during a spring that has not provided many such reasons.
  23. The cast is comprised of unfamiliar faces, which enhances the pseudo-reality of the milieu. The principals - Dane DeHaan, Alex Russell, and Michael B. Jordan - are professional actors with credits (many on television) to their names. But they are not "known" stars and that allows them to be accepted with ease into these roles.
  24. It is at times serious and at times very funny. But it is always perceptive, and that quality, more than any other, is what makes it worth a recommendation.
  25. Alpha Dog isn't a happy movie, but it's dramatically solid and the impressions it leaves will not be easily shaken.
  26. The movie's sincerity helps it get over some of the most difficult hurdles and the feeling after leaving theater is one of having experienced something worthwhile albeit unremarkable.
  27. It isn't as delirious a journey as we experienced a decade ago, but it's still filled with wonder, monsters, and thrills.
  28. Fast-paced with a morbid sense of humor and copious pop culture references, Kingsman breezes along at a nice clip until it gets a little bogged down during its final third.
  29. The tendency for an actor in a role like this is to overact. The result is often disastrous, reducing a character into a caricature. Hugh Dancy, adopting an American accent as effectively as the mannerisms of someone on the moderate portion of the Asperger's spectrum, makes Adam believable and generally sympathetic.
  30. There's nothing here to astound or surprise; the movie neither exceeds nor falls below expectations. Those who love Hardy and/or the less-filmy romances of his era will derive the most from Far from the Madding Crowd.
  31. Hard-core science fiction fans will likely greet Sunshine with a smile. Others may find this to be an odd motion picture, but there's enough going on that even those who are expecting something flashier should still be engaged.
  32. 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.
  33. As chick flicks go, this is one men can attend with the expectation that they might just enjoy experiencing two hours alongside these down-to-earth, appealing characters.
  34. Perhaps best of all, this is a rare instance in which the 3-D, while not an asset, is at least not a detriment.
  35. Allen appears determined to craft a motion picture that can be laughed at without plumbing any especially deep neuroses of the human condition.
  36. Despite being a little rough around the edges (as is often the case with the work of maverick documentarians), This Film Is Not Yet Rated is more than just an angry diatribe against the MPAA.
  37. The result is a mature and challenging motion picture, and something that will stick with viewers after the screen has gone dark.
  38. Up
    Up is not as transcendent as last year's "WALL-E," and doesn't rank near the top of Pixar's pantheon of great features, but it's a solid (and in some ways innovative) fantasy adventure that mixes comedy, action, and drama into a satisfying whole.
  39. In the best tradition of mystery thrillers of this sort, it satisfies enough on an emotional level that we're willing to forgive any intellectual, procedural, and logical shortcomings.
  40. The performances are uniformly strong and there are some powerful scenes but the overall story arc is less insightful or affecting than one might hope.
  41. What is missing in depth and philosophical intent is compensated for with humor and humanization.
  42. Thumbsucker is true to its nature, and that makes Justin's eventual transformation all the more rewarding.
  43. Reaction to The Weather Man may depend upon an individual's ability to tolerate spending 100 minutes in the company of an unpleasant protagonist. There's no doubt this can be an uncomfortable experience, but it can also be rewarding for those who are willing to endure the discomfort.
  44. Imperfect, but magical nonetheless.
  45. ATL
    Robinson has assembled an impressive young cast comprised primarily of rappers (such as Tip Harris, a.k.a. T.I.) and fresh faces (newcomer Lauren London).
  46. 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.
  47. A deliciously nasty, dark comedy.
  48. The film revels in blood and gore, but this is not just a run-of-the-mill splatter film. There's a lot of intelligence in both the script and in Alexandre Aja's direction.
  49. Not mainstream fare, but neither is it as willfully obtuse as "Melancholia."
  50. Denzel Washington plays Denzel Washington, good cop. This isn't a great performance, but Washington wasn't brought in to show off his acting chops.
  51. 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.
  52. As a date movie or for a solo night out, Blast from the Past offers more than standard romantic comedy fare.
  53. Life of Pi is a curious juxtaposition of the mundane and the majestic; a film that strives for something grander than what it perhaps achieves.
  54. The best pure thriller of 2003 to-date.
  55. Whether this is an accurate depiction of how things are in real life, I cannot say, but it's almost always how they are in the movies.
  56. Director Zhang Yimou's ambitious attempt to blend martial arts action with Shakespearean melodrama. It's not a perfect marriage but it offers two hours of solidly over-the-top entertainment featuring incredible visuals and powerful performances by international icons Gong Li and Chow Yun Fat.
  57. Even considering some of its late-innings flaws, this is an engaging movie that doesn't mistake histrionics and bile for solid family reunion drama.
  58. The film's success or failure depends almost entirely on a viewer's ability to relate to and become involved in the lives of the characters. We are with them for less than a week and, during that short time, we come to understand the lifetime of hurt and misunderstanding that stands between them.
  59. It has been argued that for characters to be three-dimensional, they must have a past, a present, and a future, not to mention an arc. The Merry Gentleman offers a counter-argument for those who would dispute this.
  60. To date, no motion picture has adequately captured the soaring highs and devastating lows associated with a long distance relationship, but Going the Distance comes as close as any movie has.
  61. Aside from the likable performers, Forces of Nature's greatest strength is that it flouts several established conventions of the genre.
  62. A drama about isolation and communication, The Band's Visit is characterized both by strongly delineated characters and low-key comedy. The movie is not lightweight but it is at times lighthearted.
  63. Vincere is Ida's story, but it says as much about fascist Italy and its ruler as it does about the central character.
  64. Costner, who has never been the most emotive of actors, is perfect for this role.
  65. This brash, glitzy, energetic entertainment has the power to hold an audience enraptured, but, at the same time, there's a sense that what we're experiencing is just candy for the eyes and ears.
  66. A workmanlike thriller that provides solid performances; a mixture of comedy, tension, and drama; and an engaging storyline. But there's nothing extraordinary about the movie.
  67. The only thing of real importance in A Man of No Importance is Albert Finney's performance.
  68. DiCaprio wears the persona of Hoover with ease, again reminding audiences that the young man who made so many girls swoon with Titanic has grown into an actor of great range and capability.
  69. The inevitable sequel, arriving three years later, isn't as giddily entertaining as its predecessor but much of the charm remains, making this an ideal destination for a family excursion.
  70. Saw
    Saw is for hard-gore horror aficionados only.
  71. The acting by Scarlett Johansson is so raw and sincere that the film leaves an impact despite its deficiencies.
  72. Camilla Belle is an impressive newcomer - this could be her breakthrough appearance.
  73. In addition to telling an involving story, This Is England is insightful and informative.
  74. 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.
  75. This is not a "nice" movie -- it deals with some pretty intense issues (like incest and suicide) -- but it is both bold and inventive, and works because of an unforced approach.
  76. Tropic Thunder understands movies, understands the system in which they are created and, most of all, knows what it takes to make an audience roar with laughter.
  77. A respectable and satisfying historical romantic melodrama.
  78. The emotional resonance that results from the focus on several unique individuals is what makes this a worthwhile viewing experience.
  79. Through a mixture of imaginative storytelling, impressive animatronics, and irresistible cuteness, Babe casts a spell over all viewers -- young, old, or somewhere in between.
  80. For those who enjoy ghost stories and are willing to be patient with a movie that gradually unveils its secrets rather than uncovering them all in an orgy of violence and terror, The Orphanage fills a need. The spell it casts early does not evaporate until the epilogue is finished.
  81. 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.
  82. 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."
  83. Solidly entertaining.
  84. Despite flouting Hollywood clichés, it nevertheless manages to be both romantic and funny even though it starts with the separation of the main couple.
  85. Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."
  86. 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.
  87. Woo, who is known and appreciated for his unique stylistic approach to violence and bloodshed, creates a kinetic ballet of bullets and explosions that drives the adrenaline level through the roof.
  88. The strength of the cast assembled by Australian-born director John Hillcoat is eye-opening.
  89. It's not as endearing as "Moonrise Kingdom" but not as tedious as "The Darjeeling Limited." It offers an engaging 90+ minutes of unconventional, comedy-tinged adventure that references numerous classic movies while developing a style and narrative approach all its own.
  90. Much of this movie seems like a retread of Jurassic Park (with a little King Kong thrown in at the end), not because director Steven Spielberg is intentionally copying himself, but because there's really not much more that he can do with the premise.
  91. Mud
    Reese Witherspoon's unglamorous, understated supporting work recalls the kinds of films she made before becoming a movie star. Other recognizable faces include Sam Shepard, Joe Don Baker, Michael Shannon, and Sarah Paulson.
  92. Empire of the Sun remains a solidly engaging story of heroism in the face of adversity, as filtered through the eyes of a boy obsessed with planes and flight.
  93. The slow, uneven beginning is more than compensated for by the rousing climax.
  94. These are fascinating, three-dimensional individuals brought into the foreground by a pair of today's finest actors.
  95. The result is an entertainingly sudsy trip through early 16th century English history.
  96. Gruesomely engaging.
  97. 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.
  98. It's not a stretch to say the movie works in large part because of the charm and sparkle of the three leads: Ewan McGregor, Emily Blunt, and Kristin Scott Thomas.
  99. An accomplished film that uses dark humor to leaven its serious topics.
  100. It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.

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