ReelViews' Scores

  • Movies
For 3,246 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: 66
Highest review score: 100 Lawrence of Arabia (re-release)
Lowest review score: 0 Feast
Score distribution:
3246 movie reviews
  1. For the briefest of moments, someone not paying attention might mistake Lantana for a mystery. -- Lantana is actually an examination of human interaction.
  2. A solid starting point for those unfamiliar with Apted's greatest work, and a must-see for those who have been down this road before.
  3. Those in search of escapism should not look to this motion picture, but anyone willing to assume the risk of facing the ugliness of Johnny's world will find a startling, gut-wrenching, eye-opening experience.
  4. Milk feels like an important picture, but not in a way that makes it tedious to watch. There's no pretentious sheen to the proceedings.
  5. 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.
  6. Begins almost as a nostalgic excursion, but quickly detours into a powerful and telling story that examines forbidden love, racial tension, and other issues that are as valid today as they were in the 1950s.
  7. This is a powerful tale of crime, guilt, and punishment -- a drama that incorporates elements of whodunit mystery/thrillers and police procedurals with a richly textured three-character play.
  8. Looper is a tremendous motion picture experience. Not merely a "very good" one, but a great one.
  9. The best animated feature (at least thus far) of 2016.
  10. At times compelling, at times devastating, and at times long-winded.
  11. Jim Sheridan skillfully interweaves a myriad of subplots and themes into a fast-paced, cohesive whole.
  12. Although Volver has a tendency to stray too far down tangential paths, it is ultimately satisfying.
  13. Fascinating and satisfying the way the diverse threads are knitted together into a single tapestry.
  14. The two most moving scenes require extraordinary performances from supporting players...Forster is as deserving of a supporting actor nomination as anyone I have seen this year.
  15. Philip Seymour Hoffman is in fine form as a man teetering on the edge.
  16. While any or all of the events related during the course of the film might seem to form the backbone of an unendurably boring motion picture, everything comes alive because of Poppy.
  17. The R, however, isn’t for the usual “extreme gore” of a slasher movie. Instead, it’s mainly for profanity. Get Out has only a little blood and viscera; the approach of writer/first time director Jordan Peele is to approach the more stomach-churning aspects of his production with tact.
  18. The acting, especially by the male leads, is superlative.
  19. A wonderful motion picture, even given the weaknesses of the source material.
  20. Regardless of who sees or doesn't see Dallas Buyers Club, however, the movie does what it sets out to do by providing a striking portrait of a remarkable character and offering a history lesson to those too young to remember how things were for AIDS sufferers during the dark ages of the 1980s.
  21. Crazy Heart is the country music version of "The Wrestler": a grizzled veteran whose days in the spotlight are behind him struggles to keep going while seeing the world through a haze of regret and booze.
  22. Emotionally, Linklater’s recreation of August 1980 is spot-on. Sure, there are a few anachronistic cheats (how many college-goers in 1980 had a VCR in their room?) but the tone is just about perfect.
  23. To be sure, A Little Princess has a few missteps. For one thing, Miss Minchin could have been played with less villainy, but younger viewers will probably appreciate the one-dimensional nastiness. There are also a few moments of overt sweetness, but these are easily forgiven. Actually, there's very little this movie has to apologize for -- it's the rare kind of picture that can be enjoyed by viewers of eight, eighteen, and eighty.
  24. 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.
  25. Avatar is entertainment of the highest order. It's the best movie of 2009.
  26. 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.
  27. There's nothing new or unique about the story, but it is presented in a manner that reinforces its immediacy and impact.
  28. If there's an argument against the film (and, admittedly, it's not much of an argument), it's that the movie may not be suitably childish to appeal to younger viewers.
  29. Dancing along a line just shy of the edge of brilliance, In the Loop possesses an incisive, take-no-prisoners comedic style that offers plenty of solid laughs while making a point about the stupidity, selfishness, and lack of awareness that exists within the highest echelons of government.
  30. There are moments of fun and humor, to be sure, but the undercurrent is of a far more serious, "adult" nature. The Lion King is primarily about guilt and redemption.
  31. If all it took was verisimilitude and atmosphere to define a movie, The Witch would earn a near-perfect rating. Unfortunately, despite a creepily effective setting and authentic setup, the movie suffers as a result of a frustratingly uneven screenplay.
  32. As animated films go, this is easily the best of a weak year.
  33. A movie that takes the hallmarks of a great career and elevates them to new heights. In terms of tone, visual beauty, and storytelling, The Wind Rises represents Miyazaki at the apex of his abilities.
  34. A sumptuous motion picture, a feast for the senses.
  35. Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.
  36. A wonderfully nostalgic, and occasionally insightful, window into the recent past.
  37. Paranoid Park is a rare breed: a movie about teenagers in which the characters talk like real teenagers, act like real teenagers, and are played by real teenagers.
  38. With Hugo, Martin Scorsese has accomplished what few in Hollywood are willing to try: make a movie for adults that arrives without sex, violence, or profanity and earns a PG-rating.
  39. Captain Phillips works precisely because Hanks isn't a muscle-bound, gun-toting figure (nor does he turn into one during the course of the movie). Placed in an untenable position, he uses guile and intelligence instead of brawn and weapons to enhance his survival chances.
  40. This is truly a movie that children and their parents can both enjoy for different reasons.
  41. The most important features of this "new" version are the digital cleaning of the print and the re-mastering of the sound. There are a few added scenes, but they are mostly insignificant and have been previously seen (at least by fans of the movie) on the laserdisc or DVD releases.
  42. 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.
  43. Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.
  44. Reitman brings the same mixture of comedy and drama to this movie that he brought to "Juno."
  45. Through a mixture of imaginative storytelling, impressive animatronics, and irresistible cuteness, Babe casts a spell over all viewers -- young, old, or somewhere in between.
  46. In his long and distinguished career, only his Oscar-winning performance in 1983's “Tender Mercies” was this raw. Duvall becomes Sonny. The energy and passion of a preacher are all present.
  47. 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.
  48. For those who have the patience to become absorbed in this kind of drama, Vera Drake offers a stunningly real character portrait whose image will linger long after the movie has faded.
  49. While Caché offers food for thought, the last third is muddled.
  50. A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.
  51. Ultimately, this may be the closest we'll ever get to understanding how Mike feels about himself, and there's value in viewing that assessment.
  52. It Follows doesn't try to get viewers to jump out of their seats. Instead, employing the time-honored technique of the "slow build", it pressures fingernails to dig into arm rests.
  53. In the end, the real problem with the Demon Barber of Fleet Street is that he's not as bloody fun as he should be.
  54. Election has the sharpest satire of any teen movie made in years. Like the best lampoons, it attacks by exaggerating reality ever-so-slightly and targeting a broad range of subjects.
  55. Coogler provides enough rousing moments to get the adrenaline pumping - there are times when the urge to jump up and cheer is almost too strong to resist. But there's more to Creed and it is elevated by the quiet, subtle elements.
  56. This is a brave movie because it addresses a subject Hollywood feels uncomfortable about.
  57. This is a fascinating story of determination and survival that deserves to be told. It is ultimately uplifting but it's tough going to get to that point.
  58. Truly a tale for our time.
  59. Passionate and magical, Forrest Gump is a tonic for the weary of spirit.
  60. Draws its audience along a rarely-traveled path whose scope can only be fully appreciated in the silence of the aftermath.
  61. This is a vital, original, and emotionally potent chapter to one of the longest-running movie series out there. It will easily be one of the summer of 2017’s best films and, at the end of the year, it will likely find a space on many respectable Top 10 lists.
  62. Talky and intelligent, and never takes the cheap way out. It's also something of a downer.
  63. The sophomore feature effort from director Destin Cretton (remaking and expanding upon his 2008 short), this movie avoids the numerous landmines awaiting someone venturing into this territory and, as a result, emerges triumphant.
  64. 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.
  65. Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.
  66. Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.
  67. Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.
  68. Ultimately, when the end credits roll, we're left with the sense that Star Trek represents a good beginning. As a film tasked with getting all the characters together, re-booting a timeline, and finding a way to return a veteran actor to his beloved role, Star Trek works.
  69. The acting is uniformly excellent. For the roles of Ashoke and Ashima, Nair has employed prolific Bollywood stars Tabu and Irfan Khan, both of whom give performances of great range and empathy.
  70. There's nothing deep or meaningful to be unearthed in this feel-good comedy, but it nevertheless makes for solid entertainment.
  71. Although Harry Potter and the Prisoner of Azkaban stands well enough on its own, it has a "middle chapter" feeling. In other words, there's no real beginning or ending. Little is resolved and the film's climax is low-key.
  72. Despite being a low-key production, La Promesse speaks volumes about how we treat other human beings and what it means to truly grow up.
  73. There is an audience out there for slower, more intellectual thrillers. This is a motion picture for them to discover.
  74. Downfall and Bruno Ganz are deserving of Oscars they will not get.
  75. The Spectacular Now's DNA contains elements of the John Hughes teen dramadies of the '80s. There's also a little Cameron Crowe - in fact, replace the soundtrack with something more dynamic and it might be easy to mistake this with a Crowe film.
  76. Some will classify Let the Right One In as a horror movie, and I suppose that's technically accurate. To me, however, this is much more of a coming-of-age/friendship movie.
  77. In some ways, it's a simple character drama, but the central conundrum disallows an uncomplicated interpretation. I was never bored.
  78. he Celebration rips apart the placid facade of a familiar subject, leaving its audience stunned. As difficult as the film can at times be, the patient viewer will be rewarded.
  79. Screenwriter Aaron Sorkin and director Danny Boyle aren’t interested in offering another re-enactment of the truth-is-stranger-than-fiction story. They have something more ambitious in mind. Their goal is to illustrate the tyranny of genius and how a “great mind” doesn’t always mean a “great person.”
  80. As in all powerful films, the content unfolds onion-like, with each level being peeled back to show something fascinating beneath.
  81. Truth, they say, is stranger than fiction… and also potentially more nail-biting and harder to believe. Touching the Void is an extreme example of this.
  82. At times, the movie gets bogged down in minutia but the emotions evoked and captured are as honest and brutal as one is likely to find on film.
  83. Good, solid entertainment.
  84. With Get Shorty, Sonnenfeld has shown that broad appeal doesn't necessarily equate with stupidity. That's a lesson Hollywood should learn.
  85. Unlike in many character studies, the plot is more than just a simple framework. It is complex and unpredictable, and, as a result, provides the perfect means to better get to know the characters and understand the shifting nature of their relationship.
  86. Light entertainment, this is not. Unforgettable and challenging cinema, it is.
  87. 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."
  88. The Exorcist's strength is that it places character development on the same level as the horror elements, but it is not a ground-breaking motion picture. It is also too long, with a setup that could have accomplished the job with equal effectiveness in about 2/3 the time. [2000 re-release]
  89. 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.
  90. Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.
  91. Those who go to a Villeneuve production, Sicario included, must be prepared for intense suspense, moral ambiguity, and an ending that doesn't conform to Hollywood norms.
  92. Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.
  93. When it comes to mockumentary parodies, no one does it better than Christopher Guest.
  94. Georgia is a tour de force for Leigh, and her portrayal of the troubled, passionate Sadie lingers in the mind long after many of the movie's plot details have faded.
  95. Although Arrival is about first contact with extraterrestrials, it says more about the human experience than the creatures from another world. This is a singularly powerful movie, without question one of 2016’s best.
  96. Juno has a great heroine and is blessed by a screenplay that doesn't try to do too much and finds the perfect ending.
  97. The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.
  98. The pressure on filmmakers to equal or exceed the impact of a beloved original is intense. In a case like this, when the reputation of a movie has built over decades, expectations are elevated to an almost impossible level. With Blade Runner 2049, Denis Villeneuve has met those expectations by crafting a film that rivets the attention, excites the imagination, and engages the mind.
  99. Possesses the rare ability to make an audience laugh (and laugh hard) and cry, without ever seeming manipulative or going hopelessly over-the-top.
  100. For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.

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