ReelViews' Scores

  • Movies
For 3,061 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Avatar
Lowest review score: 0 Feast
Score distribution:
3061 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. What is missing in depth and philosophical intent is compensated for with humor and humanization.
  5. Thumbsucker is true to its nature, and that makes Justin's eventual transformation all the more rewarding.
  6. 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.
  7. Imperfect, but magical nonetheless.
  8. 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).
  9. For those who buy into the precept that "good things are worth waiting for," The Walk unquestionably delivers.
  10. 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.
  11. A deliciously nasty, dark comedy.
  12. 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.
  13. Not mainstream fare, but neither is it as willfully obtuse as "Melancholia."
  14. 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.
  15. 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.
  16. As a date movie or for a solo night out, Blast from the Past offers more than standard romantic comedy fare.
  17. 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.
  18. The best pure thriller of 2003 to-date.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. The absence of a strong narrative is the film’s weakest aspect. The Coens are so absorbed by their mimicry that they don’t invest a lot of effort in the connective tissue.
  26. Aside from the likable performers, Forces of Nature's greatest strength is that it flouts several established conventions of the genre.
  27. 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.
  28. Vincere is Ida's story, but it says as much about fascist Italy and its ruler as it does about the central character.
  29. Costner, who has never been the most emotive of actors, is perfect for this role.
  30. 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.
  31. 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.
  32. The only thing of real importance in A Man of No Importance is Albert Finney's performance.
  33. 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.
  34. 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.
  35. Saw
    Saw is for hard-gore horror aficionados only.
  36. The acting by Scarlett Johansson is so raw and sincere that the film leaves an impact despite its deficiencies.
  37. Camilla Belle is an impressive newcomer - this could be her breakthrough appearance.
  38. In addition to telling an involving story, This Is England is insightful and informative.
  39. 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.
  40. 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.
  41. 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.
  42. A respectable and satisfying historical romantic melodrama.
  43. The emotional resonance that results from the focus on several unique individuals is what makes this a worthwhile viewing experience.
  44. Through a mixture of imaginative storytelling, impressive animatronics, and irresistible cuteness, Babe casts a spell over all viewers -- young, old, or somewhere in between.
  45. 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.
  46. 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.
  47. 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."
  48. Solidly entertaining.
  49. Despite flouting Hollywood clichés, it nevertheless manages to be both romantic and funny even though it starts with the separation of the main couple.
  50. Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."
  51. 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.
  52. 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.
  53. The strength of the cast assembled by Australian-born director John Hillcoat is eye-opening.
  54. 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.
  55. 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.
  56. 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.
  57. It’s a well-made, serious drama arriving in an era when those qualities rarely describe multiplex fare.
  58. 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.
  59. The slow, uneven beginning is more than compensated for by the rousing climax.
  60. As a dramatic thriller, it does what it needs to do to keep the audience involved and interested, even if some of its most theatrical tricks and twists are more the products of a writer’s invention than actual Washington D.C. activities.
  61. These are fascinating, three-dimensional individuals brought into the foreground by a pair of today's finest actors.
  62. The result is an entertainingly sudsy trip through early 16th century English history.
  63. It’s an attempt to wed philosophical science fiction concepts with bloody horror - a dubious endeavor that somehow works. The movie doesn’t seek to be a mindless gore-fest but neither does it show restraint when it comes to violence.
  64. Gruesomely engaging.
  65. 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.
  66. 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.
  67. An accomplished film that uses dark humor to leaven its serious topics.
  68. 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.
  69. 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.
  70. There's nothing special, shocking, or precedent-setting about the film, but it functions on a level that 007 fans will appreciate - as eye and ear candy for those who prefer action to exposition and character development.
  71. If there's a drawback, it's that the plot is trite. Hero is an exemplary example of visual poetry. The narrative is clearly of secondary concern.
  72. On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.
  73. An infectious mix of romance, mystery, and magic.
  74. 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.
  75. Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.
  76. There's something to be said for the power of a classic, even if it has been given an imperfect makeover.
  77. 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.
  78. The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.
  79. The biggest weakness of the novel is characterization, and the same flaw is fully evident in the screen adaptation.
  80. For two-thirds of its running length, Zack and Miri is vintage Smith - profane humor that knows no boundaries and obeys no rules. What's most amazing about Smith's barrage of hard-R jokes isn't the range of subjects he covers, but how few of them "miss."
  81. 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.
  82. It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.
  83. Will Smith gives his all in a role that requires him to undergo a subtle physical transformation, adopt a credible Nigerian accent, and provide a controlled, modulated performance.
  84. Joy
    The story is quirky and offbeat but the dialogue and acting set Joy up as an engaging late-year repast.
  85. With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range.
  86. A bloody fairy tale with no moral and a lot of juice.
  87. There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.
  88. The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.
  89. Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.
  90. Liberal Arts is a parfait - a light, enjoyable concoction that goes down easily but doesn't linger. The movie is great "in the moment" but may be difficult to recall with any specificity after time has elapsed.
  91. Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.
  92. Because of the dominance of the central figure and the way in which The Cruise has been assembled, it functions more as a character study than a travelogue, and that makes for an engaging time in a darkened theater.
  93. While not stunningly original, is fresh and compelling enough to hold the viewer's attention through its entire running length.
  94. 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.
  95. The movie carries a mild PG rating but may be too intense for younger children.
  96. 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.
  97. A solid motion picture with a universal message and occasional splashes of genius, but it is remarkable only as Holly Hunter's performance is concerned.
  98. Taken as a whole, Shallow Grave is a reasonably enjoyable (for those captivated by this sort of thing) black comedy/noir thriller that justifies at least a portion of the praise being heaped upon it from overseas.
  99. While Cheryl's journey is interesting, it isn't as compelling as the one embarked upon by Christopher McCandless (Into the Wild). The most arresting aspect of Wild isn't Cheryl's perambulation along the 1000-mile long Pacific Crest Trail but the memories that percolate to the surface as flashbacks.
  100. The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.

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