ReelViews' Scores

  • Movies
For 2,698 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 Lawrence of Arabia (re-release)
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
2,698 movie reviews
  1. Grabs you by the throat and digs its claws in deep. From the moment that the unwitting viewer tumbles into the realm of Lawrence Tierney's gang of eight, they are hopelessly trapped there until the final credits roll.
  2. Riveting from beginning to end, featuring stellar performances, amazing cinematography, and a story without a trace of fat, the film does everything an epic is supposed to do - and more.
  3. This film is sometimes funny, sometimes joyful, and sometimes poignant, but it's always warm, wonderful, and satisfying. Cinema Paradiso affects us on many levels, but its strongest connection is with our memories.
  4. One of the best-constructed, funniest, and most clever comedies to grace motion picture screens in recent years. It's outrageous, offensive, and even a little sick -- and all the more enjoyable because of it.
  5. Dead Again does not come across as a Hitchcock knock-off, but as a motion picture that incorporates familiar themes and approaches while maintaining its own integrity and identity. Not once during the entire production is there an obviously stolen scene or camera angle replication.
  6. This is truly a great film -- easily one of 1997's best.
  7. Not only is it a thrill-a-minute ride, but it has one of the best film villains in recent memory, a hero everyone can relate to, dialogue that crackles with wit, and a lot of very impressive pyrotechnics.
  8. A charming piece of cinema that takes several comfortable formulas and expands upon them in ingenious and emotionally-satisfying ways.
  9. Like its predecessor, The Two Towers is a great motion picture, and not to be missed by anyone who appreciates fantasy adventure.
  10. A sumptuous motion picture, a feast for the senses.
  11. Represents the director at his best -- unsentimental yet powerful, funny and poignant, and, in the end, undeniably satisfying.
  12. It is a triumph, and one of 1998's few "don't miss" motion pictures.
  13. It's ironic that a film with this title should be among the most vital, alive, and challenging cinema experiences of the year.
  14. In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.
  15. You don't just watch Titanic, you experience it.
  16. While no one is going to place Costner alongside Laurence Olivier in the acting department, he brings a likability to Dunbar that many better performers might not have been able to match.
  17. With patience, care, and strict attention to detail, Scorsese has staked out an impregnable position in the history of motion pictures.
  18. The picture is a series of mini-climaxes, all building to the devastating, definitive conclusion... It was carefully and painstakingly crafted. Every major character - and more than a few minor ones - is molded into a distinct, complex individual.
  19. This is unbelievably rich material, and I can say without reservation that Scott Hicks' work deserves the highest recognition. Shine truly does what its name says.
  20. Blue Velvet is David Lynch in peak form, and represents (to date) his most accomplished motion picture. It is a work of fascinating scope and power that rivals any of the most subversive films to reach the screens during the '80s.
  21. It affirms that, even in the 2000s, movies do not have to be brain-dead to be exciting. When the season is over, Minority Report will more than likely stand out as the best picture to grace multiplex screens during the Summer of 2002.
  22. Offeris an exhilarating, and occasionally touching, experience that has viewers leaving the theater caught up in an afterglow of wonder. These days, heros like William Wallace are as rare as motion picture displays of this high, uncompromising quality.
  23. With this film, every layer that you peel away leads to something deeper and richer. Tarantino makes pictures for movie-lovers, and Pulp Fiction is a near-masterpiece.
  24. It's difficult to overstate how much of a rare find this movie is. Colombani and her cast remind us that the best thrillers are built upon superb writing and strong acting.
  25. It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.
  26. Light entertainment, this is not. Unforgettable and challenging cinema, it is.
  27. For those who are willing to brave the movie's shocking and unforgettable images, Saving Private Ryan offers a singular motion picture experience.
  28. Because this film touches us so deeply, the catharsis has a power that few -- if any -- other moments in film history can match. And that's what establishes this as a transcendent motion picture experience.
  29. A masterpiece... The genius of Dr. Strangelove is that it's possible to laugh -- and laugh hard -- while still recognizing the intelligence and insight behind the humor.
  30. A nearly flawless example of movie composition, with close examination revealing how carefully it was put together. For those who take a less studious and more visceral approach to movie viewing, it's also worth noting that Chinatown is a superior thriller - one that will keep viewers involved and "in the moment" until the final, mournful scene has come to a conclusion.
  31. Passionate and magical, Forrest Gump is a tonic for the weary of spirit.
  32. Simply put, Sofia Copolla's Lost in Translation is an amazing motion picture.
  33. From a shock-and-suspense point-of-view, Halloween is the rival of Alfred Hitchcock's "Psycho." With only a few arguable exceptions (such as "The Exorcist"), there isn't another post-1970 release that comes close to it in terms of scaring the living hell out of a viewer... A modern classic of the most horrific kind.
  34. A stunning kaleidoscope of a motion picture - a mosaic of images that gradually resolves itself into a powerful tale of tragedy and redemption.
  35. Labeling this as a "movie" is almost an injustice. This is an experience of epic scope and grandeur, amazing emotional power, and relentless momentum.
  36. Like all great craftsmen, Lucas has managed to fashion this material in a manner that not only honors the original sources, but makes it uniquely his own. Hacks rip off other movies; artists synthesize and pay homage to their inspirations.
  37. As the beginning of Part II echoes the opening of "The Godfather," so too does the end. Because of the manner in which circumstances are handled and considering the people involved, the impact here is more forceful. The tragic flaw has accomplished its poisonous, inevitable designs. Coppola punctuates both movies with a gut-twisting exclamation point.
  38. Takes a cold, unflinching look at the violence both inside and outside of the ring.
  39. Takes all of the drama and suspense inherent in a submarine-based story and delivers it in a near-perfect package, establishing Das Boot as not just a terrific adrenaline rush, but one of the best movies ever made. [Director's Cut]
  40. Has all the right ingredients: a smart script, a likable hero, a dash of romance, more than a touch of comedy, and a lot of fast-paced action.
  41. The Western may be one of the few truly American art forms, and High Noon shows exactly how much potential it can embrace.
  42. It has been said that a Monty Python movie is only successful if it offends everyone in the audience at least once. By that measuring stick as well as nearly any other, The Life of Brian is an unqualified triumph. It makes us confront our foibles and laugh at them.
  43. Before Sunrise speaks as much to the mind as to the heart, and much of what it says is likely to strike a responsive chord -- a rare and special accomplishment for any motion picture.
  44. The storyline is more interesting and ambitious, the characters -- little more than appealing types in the original -- are allowed to grow and develop, the special effects are more mature, and the tone is deliciously dark and downbeat. [Special Edition]
  45. The first is the best. When it comes to this kind of thriller, no movie has been able to top Jaws, although many have tried. And, as the years go by, it seems increasingly unlikely that anything will come close.
  46. Disturbing. It is impossible to sit through Maria Full of Grace and not be affected by the circumstances of the characters. For that, the credit must go to Marston and his actors.
  47. Contact is that rare big-budget motion picture that places ideas, characters, and plot above everything else.
  48. Provocative, entertaining, and impeccably crafted.
  49. Watching this film demands two qualities that are sadly lacking in all but the most mature and sophisticated audiences: patience and a willingness to ponder the meaning of what's transpiring on screen. 2001 is awe inspiring, but it is most definitely not a "thrill ride." It is art, it is a statement, and it is indisputably a cinematic classic.
  50. Perhaps the most impressive feat of this film is sustaining white-knuckle tension even though the chain of events is well-known.
  51. One of Scorsese's most influential and disturbing films on the big screen. (Review twenty years after release).
  52. As profound and intelligent as it is moving, and that makes this memorable motion picture one of 1996's best.
  53. There is something special about the production, with its brash, vivid style, indelible performances by movie icons, and bold mixture of violence and comedy, romance and tragedy.
  54. Patton remains to this day one of Hollywood's most compelling biographical war pictures.
  55. A film of uncommon depth, intelligence, and sensitivity.
  56. Jim Sheridan skillfully interweaves a myriad of subplots and themes into a fast-paced, cohesive whole.
  57. United 93 is powerful not only in the way it provides hope through the actions of a few unlikely heroes, but in its ability to take us back through time to a day many of us would prefer not to remember, but will never forget.
  58. The original film was gritty and entertaining ("Infernal Affairs"); the new version is a masterpiece - the best effort Scorsese has brought to the screen since "Goodfellas."
  59. There is not a false note in Cry, the Beloved Country. Every scene is an example of near-perfect composition and execution.
  60. Crumb is a rare and powerful documentary that completely absorbs the viewer and leaves an impression so blindingly clear that the afterimage cannot be blinked away even when the theater is far behind.
  61. If Manhattan was only a romantic comedy, it would be a very good one, but the fact that the movie has so much more ambition than the "average" entry into the genre makes it an extraordinary example of the fusion of entertainment and art. This is Allen in peak form, deftly mastering and combining the diverse threads of romance, drama, and comedy - and all against a black-and-white backdrop that makes us wonder why color is such a coveted characteristic in modern motion pictures.
  62. Christopher Nolan has provided movie-goers with the best superhero movie to-date, outclassing previous titles both mediocre and excellent, and giving this franchise its "The Empire Strikes Back."
  63. An intellectually and emotionally exhausting and engrossing experience. It is drama of the highest caliber.
  64. With Inglourious Basterds, Quentin Tarantino has made his best movie since "Pulp Fiction." He has also made what could arguably be considered the most audacious World War II movie of all-time.
  65. Avatar is entertainment of the highest order. It's the best movie of 2009.
  66. Tautly paced and expertly directed, this roller coaster ride of a motion picture offers a little bit of everything, all wrapped up in a tidy science fiction/action package.
  67. Not only is it wonderfully entertaining, but the issues it addresses, and the way it presents them, are both universal and deeply personal. And therein lies The Wizard of Oz's true magic.
  68. The Girl with the Dragon Tattoo can stand on its own as Fincher's valentine to goth girl power, detective stories, and the grotesqueness of the human heart.
  69. Looper is a tremendous motion picture experience. Not merely a "very good" one, but a great one.
  70. It's a rare and powerful thing to confront something honest and real on the big screen. It stays with you in a way that nothing else can. Before Midnight is fiction but it might as well be a documentary.
  71. Bold and stirring with impeccable production values, The Last of the Mohicans is a memorable motion picture adventure, and one of the best films of the year.
  72. Close Encounters of the Third Kind is unquestionably a great movie.
  73. Gravity isn't just a movie; it's almost transformative, and the visceral element is enhanced by the 3-D.
  74. The Wolf of Wall Street joins "After Hours" as the most openly comedic films Scorsese has made.
  75. The questions posed by Like Father, Like Son are universal in nature and the manner in which Kore-eda addresses them makes for superior drama.
  76. May not have much thematic depth, but it represents two hours of pure, exuberant entertainment – an epic gangster tale rendered on a grand scale.
  77. This is a uniquely powerful motion picture, the kind of open and honest portrayal I can't ever recall having seen about a celebrity. Life Itself stands not only as a moving piece of documentary cinema but an epitaph.
  78. Cusack invests such sincerity in his portrayal of Lloyd that it's impossible not to root for him to get the girl. He's the classic underdog that we all think of ourselves as -- earnest, engaging, and impossible to resist because of his flaws, rather than in spite of them.
  79. With Get Shorty, Sonnenfeld has shown that broad appeal doesn't necessarily equate with stupidity. That's a lesson Hollywood should learn.
  80. The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.
  81. The screenplay is written with a thinking audience in mind, the dialogue sparkles, the characters leap off the screen in full three-dimensionality, and the cliches are kept to a bare minimum.
  82. This is as anti-Hollywood a film as I have seen in recent months, one which takes conventional plot ideas and uses them not to season a melodrama, but to enrich fully three-dimensional characters and create a forceful motion picture.
  83. It's a powerful, affecting tale that uses scenes of the young couple's new love as a counterpoint to Iris' final days - memories of a brightest spring echoing in the darkest depths of winter.
  84. Lately, it seems that film noir has become the province of independent productions. As a result, it's refreshing to see a big-budget, studio effort of this sort that does nearly everything right.
  85. This is a superior motion picture -- an example of the pleasant surprise that can result when a skilled director departs from his usual style. By daring to be honest and unsparing, The Son's Room is meaningful.
  86. It has the audacity that “Primary Colors” should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that “Primary Colors” was nervous about doing.
  87. The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.
  88. The characters are at the heart of A Simple Plan, and the gruesome complexity of their interaction elevates this film to the level of a midwinter treat.
  89. Affliction is for anyone willing to take the journey into the heart and soul of a troubled man on the edge.
  90. By offering opportunities to laugh, cry, and cheer, Little Voice satisfies in a big way.
  91. Magic on celluloid -- fresh, funny, romantic, and upbeat. You'll leave the theater with a smile on your face and perhaps a tear in your eye.
  92. Several flaws, mostly minor, keep Casino on a plateau slightly below that of the director's best (Mean Streets, Raging Bull, Taxi Driver, Goodfellas).
  93. You don't have to be Catholic, or Irish, or even American, to "get it." Burns' language, despite originating on Long Island, is universal in appeal and meaning.
  94. Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.
  95. If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.
  96. In addition to their deft skill with light drama, the directors understand well-placed humor, and throw just the right amount of comedy into the mix to make Big Night fun without turning it into an outright farce.
  97. It's a genuine pleasure to find a movie with such a deep and intelligent portrayal of simple human lives, with all their minor triumphs and tragedies.
  98. Nothing, no matter how outrageous, is beyond Smith, and his willingness to flaunt cinematic taboos is one of the reasons why Clerks is such a unqualified success.
  99. An engaging and powerful motion picture, every bit the equal of Merchant Ivory's best work, and certainly the most emotionally-wrenching tale they have brought to the screen.
  100. Together, Crystal and Ryan really click. Even though their characters are polar opposites (or perhaps because of it), their interaction has a charm and warmth that most motion picture pairings lack.

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