ReelViews' Scores

  • Movies
For 2,825 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 Lost in Translation
Lowest review score: 0 Feast
Score distribution:
2,825 movie reviews
  1. The result is a sharp, insightful, charming motion picture.
  2. 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.
  3. It's simple and well-told, although nothing about it is breathtakingly original.
  4. 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.
  5. Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.
  6. The acting is uniformly superb.
  7. The 30-minute finale, which includes a tense stand-off with Ben's gang, is masterfully executed. It's perfectly paced, suspenseful, and ends in a way that's both appropriate and satisfying.
  8. Jane Eyre is good enough to provide lovers of classic literature with a reason to venture to theaters without being subjected to a salacious or demeaning adaptation.
  9. In today's environment, it's a rare thing to find a movie with interesting characters in dense, intelligent storylines, but that's what Syriana offers. It is one of the best films of 2005.
  10. I lost track of how many times I checked my watch during the nearly three interminable hours it took Heat to play itself to a predictable conclusion of a chase scene and a shoot-out.
  11. It delivers on everything it promises, from the modern day reverse-Cinderella fable to a fabric of low-key humor. [Review of re-release]
  12. Dreamgirls is good and at times it touches greatness.
  13. Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.
  14. It may not be frivolously engaging but it is compelling.
  15. The Father of My Children is exceptional drama. Compelling and unforced, it shows sensitivity and evenhandedness in approaching a difficult subject.
  16. Menace II Society has a devastating impact. Few films possess the power to keep an audience sitting in stunned silence after the end credits begin rolling, but this is one of them.
  17. Starts slowly, but builds to a satisfying conclusion.
  18. The only reason Soul Kitchen is being marketed as an "art film" in the United States is because it is subtitled. On merit, this is as mainstream as one can imagine - a generic, feel-good plot that's fit for a sit-com. Call it My Big Fat Greek Restaurant.
  19. Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.
  20. Martha Marcy May Marlene offers a challenging, emotionally riveting experience, even if the conclusion dangles at the edge of an unresolvable cliffhanger.
  21. It's fascinating to see how life imitates art; the closing months of Tolstoy's life read like something he might have penned. One need not be familiar with "War and Peace," "Anna Karenina," or anything else written by the Russian great to appreciate the movie, however.
  22. The movie with which it has the closest relationship may be "Glengarry Glen Ross." The same sense of desperation, the same need to make the sale, permeates Margin Call. Both films are to some degree about the dehumanizing impact of money and both are driven more by characters than plot points.
  23. Baumbach is 45 (roughly the same age as Josh) so he writes from personal experience. He knows what these characters are feeling which is the reason why the human elements resonate with authenticity - a quality that fades when While We're Young wanders off on the tangent about what constitutes a legitimate documentary.
  24. The casting is perfect. Webb has chosen leads who are familiar but not overexposed, and who are on equal footing (neither overshadows the other).
  25. Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.
  26. This is an unusual source of entertainment.
  27. 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.
  28. Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.
  29. 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.
  30. Witness states its position about clashing cultures with eloquence.
  31. Visually interesting but offers nothing groundbreaking. The animation is competent but not overwhelming. There's no moment of wonderment.
  32. The vibe, if not the specifics, is highly reminiscent of "The Last Starfighter," "Battlestar Galactica," "Battle Beyond the Stars," and others. The fact that the movie's "present" is defined as being 1988 and the soundtrack is peppered with '70s tunes cements the retro feeling.
  33. Ultimately, however, A Dangerous Method is less about the formative years of psychotherapy and two of its progenitors than it is about a rule-breaking extramarital affair.
  34. Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.
  35. 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.
  36. Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.
  37. 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.
  38. The most notable element of screenwriter Dan Gilroy's debut feature is the performance he elicits from Jake Gyllenhaal. In the tradition of Brando, Bale, Theron, and others, Gyllenhaal undergoes a radical physical transformation to play the part of Louis Bloom.
  39. It's a deliciously amusing and sometimes surprisingly poignant look at the difficulties of being a 15-year old outsider whose chief goals in life are getting laid and making sure his parents don't split up.
  40. What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be.
  41. An enjoyable, although not ambitious, holiday outing.
  42. The result, regardless of how it was arrived at, is gutless.
  43. Balances character development with plot, and that's crucial to its success.
  44. On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.
  45. Kids for Cash may not be inherently cinematic (a lot of the footage, after all, first appeared on television) but it is compelling.
  46. Likely to bring a smile to your lips and a bounce to your step.
  47. Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.
  48. 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.
  49. 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.
  50. Formula One fans who remember 1976 will no doubt delight in the film but, for those who (like me) were more interested in other things during the year of America's bicentennial, it's not only a good lesson in sports history but an entertaining two hours to spend in a theater.
  51. Writer/director Mangold never compromises the integrity of his painfully-intense script. There isn't one crowd-pleasing moment in the entire movie, except perhaps the last scene, which offers a flicker of hope.
  52. It's bland as often as it is affecting, and presents little that's new or original.
  53. It is at times serious and at times very funny. But it is always perceptive, and that quality, more than any other, is what makes it worth a recommendation.
  54. This film is an autopsy of a family that has been sundered by the death of the father and primary care-giver.
  55. The two actors, Daniel Day-Lewis and Emily Watson (Breaking the Waves), give such forceful performances and interact so well that it's impossible not to be mesmerized by their interaction.
  56. Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.
  57. One of the singular pleasures of films like The Invisible Woman is the window they offer into the lives of deceased authors who are known primarily to modern audiences only through the words they committed to paper.
  58. The Muppets is a rare family film likely to appeal more to parents than to their offspring.
  59. The problem with An Inconvenient Truth isn't the message; it's the messenger.
  60. This is a film of powerful ideas, impressive set design, and compelling performances.
  61. It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.
  62. 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.
  63. With its appealing blend of animated comedy, romance, and adventure, Shrek 2 follows the formula of its predecessor while maintaining enough originality not to come across as a direct copy.
  64. 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.
  65. While this is certainly not the first motion picture to blend drawn creations with real life actors, no movie to date has approached it quite this way.
  66. 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.
  67. The rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one.
  68. The screen translation of Catching Fire, the second volume of the series, offers its audience many of the elements that made The Hunger Games compelling, but adds to that by deepening the themes and emotional currents and traveling to darker destinations.
  69. The Wolf of Wall Street joins "After Hours" as the most openly comedic films Scorsese has made.
  70. Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.
  71. A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.
  72. It's a simple story told well, with plenty of lighthearted moments and kernels of thought-provoking material, but little to really excite the cinematic appetite.
  73. There's something delightfully old-fashioned about Steven Soderbergh's Side Effects. It's the kind of thriller that Alfred Hitchcock might make if he was still alive and active today.
  74. This combination of storytelling, singing, and corny comedy is sometimes a little too slow and long-winded for its own good, but at least the aftertaste isn't bitter.
  75. We've seen this story so many times that it's starting to wear thin. In many ways, Kicking and Screaming is mildly enjoyable, but all it really does is go over old ground with new characters.
  76. Not a daring film, but it is immensely likable. Every once in a while, a movie comes along that, despite traversing familiar terrain, is made with enough all-around skill that it overcomes its clichéd origins. About a Boy is such a movie.
  77. 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.
  78. A pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize.
  79. As a satire on the media's infatuation with violence and murderers, Natural Born Killers hits the bullseye. The problem is, this is a one-note movie. It repeatedly hammers home the same point until the audience is bludgeoned into senselessness.
  80. As a documentary, this movie has the same problems as all of those in Moore's oeuvre; as a polemic or a visual op-ed piece, it's an effective piece of filmmaking.
  81. A compelling, thought-provoking, and unsettling drama.
  82. The humor - and there's enough of it that Tabloid could be categorized as a comedy - is unforced, arising as it does out of these truth-is-stranger-than-fiction circumstances.
  83. This is a more personal movie for Burton than one might initially suspect. The very fact that he elected to re-tell this story after 28 years is an indication of how much it means to him. And I wouldn't be surprised to learn that, as a kid, he had a dog named Sparky.
  84. One hell of a ride. For better or for worse, it will leave you stunned and reeling.
  85. To reboot the X-Men franchise, director Bryan Singer, who first gave these characters screen life fourteen years ago, has crafted a continuity-lover's nightmare.
  86. The Sea Inside is uplifting. This is a movie that may cause viewers to both laugh and cry.
  87. It's refreshing to encounter a movie with a logical, intelligent approach to the dangers of zipping through time.
  88. 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."
  89. The versatile actor brings the full weight of his talent to bear on a difficult role. DiCaprio has to hint at unpleasant secrets in Cobb's past while forging a bond with the audience. It's up to the performer to make Inception more about human beings than about special effects. He succeeds and that's one reason why this movie isn't only about challenging ideas and eye candy.
  90. A fast-paced, engaging science fiction adventure tale.
  91. Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."
  92. 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.
  93. One of the best thrillers I have seen this year: tight, taut, and unpredictable.
  94. By entering such fertile, intellectually stimulating and psychologically rich territory, Estes provides us with a freshman feature that is far beyond the generic coming-of-age tale Mean Creek initially seems to be.
  95. The purpose of Bully is to educate and promote discussion. If the problem is not solved, there will be more Columbines and additional stories like Tyler and Ty's.
  96. Most of the film is dull and soporific. Breathtaking photography without emotional involvement can take an audience only so far.
  97. A film of uncommon depth, intelligence, and sensitivity.
  98. 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.
  99. You don't just watch Titanic, you experience it.
  100. 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.

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