ReelViews' Scores

  • Movies
For 2,743 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 Contact
Lowest review score: 0 Captivity
Score distribution:
2,743 movie reviews
  1. 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.
  2. 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.
  3. One of the better offerings to be found in a year that has seen a drop-off in the quality of animated films.
  4. It's a thrill-a-minute ride that concludes with a whimper, like a roller-coaster that has all the drops and twists early. Make no mistake, this is a good source of early summer fun, but with a little extra imagination, it could have been a whole lot more.
  5. Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.
  6. Stirring and emotionally forceful.
  7. This is a smart, adult romance that rarely panders to clichés, and gives up the heady bliss of most such movies in favor of something bittersweet.
  8. Robert Downey Jr. is perfect as Harry. He brings the right mix of cynicism, self-doubt, and unpretentiousness.
  9. 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.
  10. First time director Jonathan Frakes (who also plays Riker, the Enterprise's second-in-command) injects some badly-needed energy and inventiveness into a series that, prior to this effort, was sinking under its own weight and boldly going nowhere.
  11. In this impressive debut, Solonz doesn't pull any punches in conveying the side of junior high that "The Wonder Years" never depicted: the naked cruelty that some boys and girls suffer at the hands of their classmates, their teachers, and even members of their own family.
  12. This may sound like Woody Allen - in fact, it often feels like Woody Allen (minus the expected helpings of angst) - but it's not. Prime is from writer/director Ben Younger and, while it's not up to the level of Allen's great romantic comedies ("Annie Hall," "Manhattan"), it's better than anything the acclaimed New York auteur has brought to the screen in recent years.
  13. 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.
  14. The film offers food for thought, and reminds us that, in any war, one who understands the mindset of his opponent gains an important tactical advantage.
  15. It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before.
  16. Will work better for younger viewers than older ones. There's not much plot to absorb and there's plenty of action, so this is the kind of spectacle that will appeal to those without long attention spans.
  17. Imperfect, but magical nonetheless.
  18. This movie has a driving plotline that "Ray" lacked - a love story. To me, that's what elevates this film.
  19. This one is a creepy white-knuckle excursion into horror, where even the "boo!" moments are so well developed that they cause a jolt.
  20. There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.
  21. 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.
  22. On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.
  23. This is the best adult holiday film in a while.
  24. There's nothing edgy or groundbreaking about The Matador, but it's funny, touching, and ultimately endearing.
  25. Does what it sets out to do: educates about a mostly unknown historical figure (without doctoring the facts too much), entertains, and uplifts.
  26. 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.
  27. 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.
  28. The New World is beautiful and lyrical and, except for the ill-advised voiceovers, a treat for more than one of the senses.
  29. Glory Road's strength is the way in which it blends social awareness into the sports genre.
  30. There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.
  31. Petersen takes what could have been a muddled motion picture and structures it perfectly, creating a strong piece of entertainment. It helps, of course, that he has a capable cast.
  32. Strictly speaking, it's not a top example of movie making, but it offers two hours of undeniably solid entertainment, and not too many viewers can argue with that.
  33. This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.
  34. In movies this deliberately paced, the line between fascination and boredom is a fine one, easily crossed. Fortunately, Bubble stays on the right side of that line.
  35. The film is not riotous, but it is sporadically amusing.
  36. The movie succeeds because screenwriter Howard Himelstein keeps Wilde's best lines intact and the actors speak the words with practiced confidence.
  37. A thriller with enough of the right ingredients to provide a couple hours of escapism.
  38. Strong acting is one of the film's hallmarks. It has been a while since Samuel L. Jackson has given a performance with this much intensity.
  39. A classic example of a pedestrian motion picture being lifted out of mediocrity by an arresting lead performance. Zooey Deschanel doesn't just elevate Winter Passing; she carries it.
  40. When a director can take a reprehensible monster and, over the course of a scant 90 minutes, turn audience reaction from distaste to sympathy, that's the mark of an adept filmmaker. This occurs in Tsotsi.
  41. If you like kinetic movies about crime, criminals, and all sorts of bad behavior, Running Scared will catch and hold your attention.
  42. There's enough drama here to fill two hours. Whether or not that happens, Rupert Murray's account represents fascinating viewing, and the richness of the subject matter more than makes up for the crudeness of some of the visual elements.
  43. It makes for a fascinating exploration of the human experience.
  44. Tennant takes this familiar material and crafts a charming, captivating motion picture.
  45. 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.
  46. Holofcener has an ear for dialogue, and, as is often the case with the best character- centered films, a chief pleasure is simply enjoying what the participants have to say to one another.
  47. Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for something lighter and breezier, it's still fun.
  48. 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.
  49. The film's ending is a little unanticipated, and, although there are a few too many surprise revelations in the last 20 minutes, they all work reasonably well to enhance, rather than diminish, the central theme.
  50. Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.
  51. Despite being saddled with bad prosthetics and a ridiculous wig, Diesel displays more acting ability than in the testosterone-soaked genre where he has carved out a niche.
  52. 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.
  53. 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).
  54. Some of what occurs in Lucky Number Slevin is done with a wink and a nod, although McGuinan (á là Tarantino) doesn't skimp on the gore.
  55. The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.
  56. Kekexili is about how human beings, when passionate about something, can put everything, including their lives, at risk for a cause.
  57. So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.
  58. The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.
  59. Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.
  60. This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.
  61. It delivers pretty much what's expected.
  62. Solid family entertainment, and it's better than 2006's previous tepid animated releases.
  63. Director Michael Cuesta hits the right notes with his characters. They are believable 12-year olds: intelligent (but not too intelligent) yet naïve, and trying with mixed success to navigate the path of adolescence.
  64. 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.
  65. The problem with An Inconvenient Truth isn't the message; it's the messenger.
  66. What really matters in this film are the lead characters - Resler and Russell - who are interesting enough to warrant such a cinematic endeavor. The upbeat film touches on serious issues without becoming lugubrious.
  67. There are times when the comedian falls back on his typical shtick, but the film doesn't shy away from the darkness inherent in this kind of story, and it has a heart.
  68. The Devil Wears Prada is two films in one: a caustic, energetic satire of the fashion world and a cautionary melodrama. The first works; the second doesn't.
  69. The slow, uneven beginning is more than compensated for by the rousing climax.
  70. This is a funny movie. It delivers plenty of laughs, but it isn't in the same league as "Clerks." I left that movie holding my stomach from laughing so hard.
  71. 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.
  72. 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.
  73. Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.
  74. The two best words to describe the 2006 motion picture Miami Vice are "stylish" and "intense."
  75. The Night Listener is by no means an example of perfect filmmaking, but it is the kind of movie that stays with you.
  76. An infectious mix of romance, mystery, and magic.
  77. Coulter is a TV veteran but a motion picture newcomer. His work here indicates he is someone to watch. The pacing is slow and deliberate, but the story never ceases to intrigue.
  78. Overall this is a compelling and sometimes disturbing motion picture.
  79. 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.
  80. Haggis' dialogue is virtually without clunkers, and it is delivered with the appropriate weight by a solid cast. Braff's limp performance is countered by Barrett's emotional riveting one (although he's in more scenes than she is).
  81. Jesus Camp is not a "hatchet job." The filmmakers did not go in with an anti-Christian agenda and use selective editing to prove their point.
  82. Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."
  83. Most viewers will discover this picture - and it is worth discovering - when it is released on DVD.
  84. 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).
  85. 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."
  86. "Capote" is the more intellectual of the two films; Infamous is the more emotional. They exist to complement, not eclipse, one another.
  87. Ultimately, Clockers probably attempts too much, and ends up seeming overcrowded as a result.
  88. Easy isn't much of an acting challenge, but Washington's mix of charm and intensity creates an appealing personae.
  89. Although the forced ending, which seems deigned to create an unnatural moment of triumph, weakens the climactic catharsis, it doesn't diminish the naked honesty which forms the foundation of Dolores Claiborne.
  90. Writer/director Jeremy Leven takes pleasure in clouding the division between what's real and what isn't, but he never stretches matters to such an extreme that Don Juan DeMarco is reduced to a mindless farce.
  91. Character development is of secondary importance to narrative and theme. As a result, we never really get to know any of the film's protagonists.
  92. The film is well-paced and expertly edited, allowing scenes to flow naturally into one another.
  93. There's nothing deep or meaningful to be unearthed in this feel-good comedy, but it nevertheless makes for solid entertainment.
  94. Despite its good intentions, A Family Thing could easily have been a mediocre drama, but the excellent performances elevate the film considerably.
  95. The variation keeps things fresh and the relatively short running length (less than 90 minutes) ensures that Borat doesn't overstay its welcome - even though when it's all done, we wish this absurd man might have lingered a little longer.
  96. 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.
  97. 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."
  98. Although Volver has a tendency to stray too far down tangential paths, it is ultimately satisfying.
  99. Gorgeous photography and strong acting keep the formula from becoming stale. For those who don't mind pictures that fall into predictable rhythms, A Good Year represents a pleasant diversion.
  100. Harsh Times occasionally echoes "Taxi Driver," Ayer's own "Training Day," and even "First Blood" in the way it examines the psychological disintegration of a character and the seduction of amorality.

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