For 1,208 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 11.6 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Mishima: A Life in Four Chapters
Lowest review score: 0 Simply Irresistible
Score distribution:
1208 movie reviews
    • 17 Metascore
    • 20 Nathan Rabin
    I do not invoke the terms “Gestapo” or “genocide” lightly; for an ostensible romp aimed at small children, Guardian Of The Highlands is an incredibly dark, disturbing film that derives all of its suspense from putting adorable animals in horrible peril.
    • 46 Metascore
    • 25 Nathan Rabin
    It plays like unwitting art-house self-parody from a narcissist who takes himself, and his brooding subject matter, way too seriously.
    • tbd Metascore
    • 25 Nathan Rabin
    The film is too violent and dark for kids but too juvenile and bland for grown-ups.
    • 49 Metascore
    • 67 Nathan Rabin
    Before Cooties is a zombie movie, it is an earnest-young-teacher movie that diligently subscribes to every cliché of the form.
    • tbd Metascore
    • 16 Nathan Rabin
    At an egregious 106 minutes, Joe Dirt 2 feels like a director’s cut where every single moment of footage was carefully preserved, no matter how pointless or unfunny or digressive it might be.
    • 69 Metascore
    • 67 Nathan Rabin
    It’s about just about everything, so while the subject might seem niche it’s actually so broad and expansive the film strains to cover it properly in a trim 82 minutes.
    • 57 Metascore
    • 50 Nathan Rabin
    It does not seem like too much of a stretch to call Kroll a comic genius, but this kind of low-key sincerity does not suit his particular gifts.
    • 51 Metascore
    • 50 Nathan Rabin
    More than anything, Misery Loves Comedy does not need to exist. The niche it aims to fill has already been occupied by people willing to go much deeper than Pollak.
    • 13 Metascore
    • 20 Nathan Rabin
    In the past, James at least had likability on his side. He was a big, lumbering oaf, the ideal drinking buddy. But there’s an arrogance to the way he treats people here, particularly a gorgeous hotel employee he’s convinced is in love with him, that renders him strangely unsympathetic.
    • 49 Metascore
    • 70 Nathan Rabin
    Desert Dancer is blessed by a powerful sincerity. The filmmakers clearly believe the bromides offered about the life-affirming power of dance and artistic expression. The conviction that this story matters and deserves to be taken seriously gets the film over its occasional rough patches.
    • 27 Metascore
    • 20 Nathan Rabin
    this old-school international hodgepodge production is weighed down by a lumbering humorlessness and a glacial pace that makes it seem far longer than its 115 minutes.
    • 34 Metascore
    • 30 Nathan Rabin
    The deathly silence doomed to haunt theaters during Get Hard allows audiences far too much time to think about its problematic attitudes toward race, gender, sexuality, and class, as well as its borderline-nonsensical plot.
    • 37 Metascore
    • 40 Nathan Rabin
    Clark is either doing way too little or way too much here; he rarely hits the right tone.
    • 45 Metascore
    • 50 Nathan Rabin
    It goes about its idiotic business swiftly and efficiently, which is about all you can ask for from this manner of silliness. It never goes anywhere worthwhile, but at least it doesn’t take too long to get there.
    • 23 Metascore
    • 0 Nathan Rabin
    The Cobbler is such a weirdly somber comedy that it would almost be in poor taste to laugh during it, though there’s not much danger of that happening.
    • 33 Metascore
    • 40 Nathan Rabin
    Kidnapping Mr. Heineken isn’t a comedy of incompetence, or the psychological battle of wills its opening scene suggests. It’s hard to see exactly what the filmmakers were going for, beyond bringing a real-life story to the big screen as dutifully and dully as possible.
    • 32 Metascore
    • 20 Nathan Rabin
    Unfinished Business aspires to high-spirited antics, but it feels defeated and exhausted from the very start.
    • 29 Metascore
    • 20 Nathan Rabin
    The humor is seldom character-based: It’s more a matter of actors saying whatever outrageous thing springs to mind at that moment.
    • 76 Metascore
    • 80 Nathan Rabin
    Unless this is an unusually great year for comedy, there will be few funnier or more quotable movies than What We Do In The Shadows.
    • 52 Metascore
    • 40 Nathan Rabin
    Da Sweet Blood Of Jesus is the best kind of failure, impassioned and singular, but it’s a failure all the same— glacially paced, stiffly acted, shapeless, and for the most part tremendously boring. It’s an intriguing idea ruined by the execution. There’s a fine line between hypnotic and somnolent.
    • 31 Metascore
    • 0 Nathan Rabin
    Luke Matheny’s perversely milquetoast romantic comedy seems to have escaped from the afternoon schedule of the Lifetime network and secured a VOD and theatrical release it patently does not deserve.
    • 30 Metascore
    • 50 Nathan Rabin
    For those seeking guilty laughs and shameless camp, The Boy Next Door is the exact right kind of bad movie. It’s full of unintentional laughs, and transcendently unselfconscious.
    • 35 Metascore
    • 20 Nathan Rabin
    The film’s lazy reliance on distraction extends to keeping its female lead underwritten and unsympathetic.
    • 17 Metascore
    • 20 Nathan Rabin
    Perversely low-budget and oddly devoid of imagination, Vice seems less like a proper film than a bargain-basement SyFy pilot, shot on the cheap and drafting off Willis and Jane’s star power. It’s about androids aching to be real, but it doesn’t have an ounce of genuine humanity in its tin heart.
    • 31 Metascore
    • 10 Nathan Rabin
    As well-intentioned as it is thoroughly inept, Black November would be a serious contender for year-end worst lists if it weren’t so painfully noble and sincere.
    • 85 Metascore
    • 80 Nathan Rabin
    The film is an appropriately dour and intense indictment of a law-enforcement community that did not value the lives of some victims enough to devote anything but the slimmest of resources to tracking their killer down.
    • 34 Metascore
    • 40 Nathan Rabin
    The tone is delicate and vaporous, more attuned to mood and melancholy than anything resembling a conventional narrative. And despite the ambition on display, the film feels awfully slight, like a dream forgotten immediately upon waking. In its admirable but muddled attempt to fuse pure poetry and pure cinema, it ends up doing justice to neither.
    • 81 Metascore
    • 70 Nathan Rabin
    It’s a big leap forward for Rock as both an actor and a filmmaker, written and directed with the nervous, live-wire energy that has eluded his on-screen work for so long.
    • 40 Metascore
    • 30 Nathan Rabin
    Ribald yet frantically unfunny, it wears out its welcome within the first five minutes, and never comes close to gaining it back. It feels like an alternately flat and flailing television pilot for a bro-comedy no one in their right mind would ever pick up.
    • 38 Metascore
    • 30 Nathan Rabin
    It feels like the series has run its course, and should be relegated to the dustbin of history alongside the hardware it so lovingly pays tribute to.

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