ReelViews' Scores

  • Movies
For 2,745 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 Lord of the Rings: The Return of the King
Lowest review score: 0 Feast
Score distribution:
2,745 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Storaro and Bertolucci have fashioned a visual masterpiece in The Conformist, with some of the best use of light and shadow ever in a motion picture. This isn't just photography, it's art -- powerful, beautiful, and effective. (Review of 1994 Release)
  5. When it's over, the sense is one of deep satisfaction - of having gotten to know a family in a way few motion pictures allow.
  6. The lack of family friendliness does not diminish what del Toro has achieved with this magical motion picture.
  7. The rich texture of Hoop Dreams' drama is its greatest asset.
  8. Despite being slow and deliberate, it is often compelling and occasionally riveting. As "The Lives of Others" was in 2007, this is the first memorable movie of 2008.
  9. 12 Years a Slave is by no means light entertainment but it provides a more worthwhile cinematic experience than about 90% of what's out there and the impressions it leaves aren't easily dismissed or dispelled.
  10. 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.
  11. Gravity isn't just a movie; it's almost transformative, and the visceral element is enhanced by the 3-D.
  12. Eisenberg, one of those young actors who has existed just below the radar for several years now (he was the lead in both "Zombieland" and "Adventureland," not to be confused with one another), deserves an Oscar for this dead-on portrayal of a temperamental genius.
  13. A compelling contemporary thriller with the added benefit of also being an engrossing character study.
  14. It is a mystery and a courtroom drama. Above all, however, it is a tale of love and sacrifice.
  15. 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.
  16. Overall, while Spirited Away may not be as complex and imaginative as "Princess Mononoke" in some areas, it is as beautifully rendered and no less sophisticated in its outlook. Miyazaki has provided another triumph, and, in the midst of the quality fall-off of Disney’s in-house animated projects, a reason for animation-lovers to rejoice.
  17. 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.
  18. This is a tense, well-crafted motion picture that keeps viewers on edge. It's an exhausting 130 minutes; many viewers will leave the theater feeling drained.
  19. Put simply, WALL-E is about as charming as movies get.
  20. It's likely that 2004 won't offer a better movie about a mid-life crisis.
  21. Labeling this as a "movie" is almost an injustice. This is an experience of epic scope and grandeur, amazing emotional power, and relentless momentum.
  22. This may sound depressing and, in a sense it is, but these things are part of life and Haneke conveys them with a simplicity that is heartbreaking.
  23. 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.
  24. One of Scorsese's most influential and disturbing films on the big screen. (Review twenty years after release).
  25. 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.
  26. Considering the strength of performances given by the 25-or-so teenage actors portraying the students, it's amazing that none of them have previous experience.
  27. Takes a cold, unflinching look at the violence both inside and outside of the ring.
  28. The computer-generated effects are a marvel. It's something of a bonus that the characters, dialogue, and story provide entertainment value of their own.
  29. Toy Story 3 enhances the legacy of its brand while providing exceptional entertainment value for viewers of all ages, especially for those who favor the brighter, livelier 2-D iteration over the 3-D gimmick.
  30. Fatoumata Coulibaly's peformance is striking. She plays her character with a mixture of determination and compassion.
  31. 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.
  32. Close Encounters of the Third Kind is unquestionably a great movie.
  33. Represents the director at his best -- unsentimental yet powerful, funny and poignant, and, in the end, undeniably satisfying.
  34. Patton remains to this day one of Hollywood's most compelling biographical war pictures.
  35. It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.
  36. 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.
  37. As is often the case with European films, the acting is superlative...The real standout, however, is newcomer Jaye Davidson, whose performance is, without exaggeration, stunning...Not to be missed.
  38. For those who are willing to brave the movie's shocking and unforgettable images, Saving Private Ryan offers a singular motion picture experience.
  39. 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.
  40. Her
    It's audacious but also genuine. It's emotionally true and demands much from its audience not in terms of suspension of disbelief but of empathy with the main character.
  41. This is truly a great film -- easily one of 1997's best.
  42. As always, the voice casting is perfect. Throw in a moral, and some nice touches of technical accuracy (that fish keepers will appreciate), and the movie represents the best family film to-date of 2003.
  43. In the midst of summer's cinematic thunder and lightning, this is a rare moment of tranquility.
  44. Isn't just fine family entertainment, it's superior family entertainment.
  45. American Splendor is deserving of accolades, not only because it tells an interesting story about a fascinating man, but because it does so with such freedom and freshness. I wish more of the comic book-inspired movies were like this.
  46. 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.
  47. The film is as powerful as any narrative motion picture in telling a story that rips at the emotions.
  48. Simply put, Sofia Copolla's Lost in Translation is an amazing motion picture.
  49. With solid performances and a terrific screenplay, this movie offers solid, no-frills drama that feels organic and believable, not contrived.
  50. It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.
  51. The tone is perfect; this is one of those rare films that, despite being rooted firmly in the world around us, is utterly absorbing and capable of reducing the immediacies of life into abstract thoughts in the back of one's mind.
  52. Hazanavicius isn't just making a "silent movie," he is attempting to enter a time warp and craft something that would fool all but the most studious and scholarly into believing it could have been a lost film from a bygone era. If his tongue is sometimes a little in his cheek, that's all part of the fun.
  53. With patience, care, and strict attention to detail, Scorsese has staked out an impregnable position in the history of motion pictures.
  54. This is unlike any other film I have seen... it's a great romance. It's willingness to flout conventions and eschew formulas is just one of many things to celebrate about this charmingly eccentric movie.
  55. The Western may be one of the few truly American art forms, and High Noon shows exactly how much potential it can embrace.
  56. The brilliance of Bennett's movie is that it concentrates on the characters and their interaction and never becomes a mouthpiece for one side or the other with respect to the death penalty.
  57. Watching Blue is the Warmest Color provides viewers with that rarest of motion picture opportunities: the ability to lose oneself in the life of another for three hours and to emerge having felt something.
  58. On the Waterfront may have baggage, but that doesn't prevent it from being one of the great American productions of the mid-20th century.
  59. Like its predecessor, The Two Towers is a great motion picture, and not to be missed by anyone who appreciates fantasy adventure.
  60. Delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy.
  61. One of the reasons that Quiz Show is so extraordinary is because it spins a story as compelling on the personal level as on the national one.
  62. Superman II delivers on the promise hinted at in "Superman." Which is the better film? That's a hard choice to make, since both succeed in different ways.
  63. It's a noteworthy achievement for director Damien Chazelle to infuse a tale about the development of a musician with all the tension and intensity of a top-notch thriller. Whiplash is riveting.
  64. 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.
  65. 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.
  66. McNamara has a reputation for being intelligent and belligerent. The Fog of War validates the former characteristic, but not necessarily the latter.
  67. Overall, Part 2 tells a more compelling and emotionally fulfilling tale than the one related in Part 1, although that could be a result of this movie having a conclusion - something its predecessor notably lacked.
  68. 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.
  69. Actually three movies in one: a wildlife film about how grizzly bears behave in their natural habitat, a character study of an eccentric environmentalist, and a chilling, voyeuristic narrative of how death stalks that man.
  70. This is one of the year's most unabashed and powerful love stories, using flawless performances, intelligent dialogue, crisp camera work, and loaded glances to attain a level of eroticism and emotional connection that many similar films miss.
  71. 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.
  72. Lincoln paints a powerful and compelling portrait of the man who has become an icon. We don't need to see more of his life to understand how rare a figure he was - this window is more than sufficient.
  73. Nebraska is a rambling affair. It's about characters and dialogue. There's not much of a narrative to speak of - this is even more minimalist than "About Schmidt" or "Sideways."
  74. The result is magical and life affirming, and will enrapture those who are not scared away by the mention of "subtitles."
  75. 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.
  76. It is a rich and challenging motion picture that both affirms life and emphasizes its fragility. Eastwood touches our hearts and energizes our minds without resorting to overt manipulation.
  77. Cholodenko, whose previous features include the pretentious "High Art" and the sudsy "Laurel Canyon," pitches The Kids Are All Right at right level - there's enough light comedy to leaven the melodrama and keep it from becoming overbearing.
  78. The narrative is presented in a straightforward manner; Soderbergh doesn't employ any unusual chronologies. His style is frank, not quirky, and lends itself to a number of powerful images.
  79. 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.
  80. 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]
  81. With Deliver Us from Evil, Berg has been uncompromising in the picture she paints. She pulls no punches and makes no apologies.
  82. Recognizing that many of the movie's elements are lifted from actual events elevates the importance of what the movie has to say.
  83. Almodovar also manages to conclude the film on a hopeful note, and one that will have many audience members wishing that he will someday return to tell more about these characters.
  84. Although most movies favor passion and true love, The Umbrellas of Cherbourg shows that another less demanding, more subtle kind of love has its own appeal.
  85. 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.
  86. It's an uncompromising movie that illustrates one of the most convincing personality transformations that I have seen in a recent motion picture.
  87. There's no doubt that it's a flawed movie, but it's one of the most wonderfully entertaining flawed movies made.
  88. 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."
  89. Crafted without a whiff of melodrama, this motion picture takes a steady, unflinching look at the plight of Jews in Warsaw.
  90. Isn't just an expose of the porn industry -- it's a provocative and involving character study, as well.
  91. The Edge of Heaven is marked by a number of remarkable performances.
  92. Knocked Up could be one of the summer of 2007's sleeper hits. It certainly deserves the distinction.
  93. Using perfectly composed shots to amplify an emotionally resonant story, the film successfully argues that "artistic" films do not have to be boring.
  94. In the end, this is more a character study of Jenny than a tale of tortured love, and a reminder that any education worth having comes with its share of trauma.
  95. Atonement is effective at getting under the skin, and some audience members won't like that.
  96. Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.
  97. The Tree of Life falls short of masterful but retains a power that far too many motion pictures lack. It's about SOMETHING and, even when it fails, it does so in a manner that is interesting and not infantile.
  98. It's a compelling tale that offers the opportunity for reflection and discussion about issues that have never really gone away and continue to lurk in the cultural background.
  99. 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.
  100. Moonrise Kingdom is lovingly crafted with an attention to detail that is breathtaking while, at the same time, it displays genuine affection for its young protagonists.

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