For 1,071 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 9.9 points lower than other critics. (0-100 point scale)

Nathan Rabin's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Blue Valentine
Lowest review score: 0 Monster-in-Law
Score distribution:
1071 movie reviews
    • 62 Metascore
    • 83 Nathan Rabin
    A lovely, sweet, funny, romantic, and supremely worthwhile endeavor that unfortunately takes longer to wrap up than it should.
    • 60 Metascore
    • 83 Nathan Rabin
    The film emerges as a powerful, even shattering look as music's power to unite where it once divided.
    • 79 Metascore
    • 83 Nathan Rabin
    Like few of his filmmaking peers, McCarthy understands and respects the power of quiet, and how a whisper can be as explosive as a shout.
    • 68 Metascore
    • 83 Nathan Rabin
    The subject matter is unrelentingly sordid yet the storytelling is so deadpan and understated that it's difficult, if not impossible, to dismiss it as exploitation or sexist provocation.
    • 40 Metascore
    • 83 Nathan Rabin
    In a timid comic world, Tim & Eric's Billion Dollar Movie feels genuinely dangerous and transgressive: it makes a virtue of going way too far because other comedies don't go far enough.
    • 75 Metascore
    • 83 Nathan Rabin
    Altman and Keillor's A Prairie Home Companion is fittingly both a celebration and a winning example of the joys of collaboration.
    • 80 Metascore
    • 83 Nathan Rabin
    The film accomplishes a remarkable feat of creative alchemy by breathing life and depth into characters that, in lesser hands, could easily have come across as grating caricatures.
    • 79 Metascore
    • 83 Nathan Rabin
    Iron Man is the rare comic-book movie that makes the prospect of a sequel seem like a promise instead of a threat.
    • 54 Metascore
    • 83 Nathan Rabin
    Funny excuses an awful lot, and at its best, Hamlet 2 is nothing short of hilarious.
    • 84 Metascore
    • 83 Nathan Rabin
    Block Party is largely a giant love-fest, which is fitting given the staggering amount of simpatico musical and comic talent on display, though some conflict surfaces nevertheless.
    • 80 Metascore
    • 83 Nathan Rabin
    Like many social issue documentaries, Food, Inc. is better at addressing problems than offering solutions: its endorsement of organic food in particular feels a little flimsy. Nevertheless, it’s entertaining and fast-moving enough to make audiences intermittently forget they’re consuming cinematic health food.
    • 73 Metascore
    • 83 Nathan Rabin
    The four protagonists aren’t about to let something as minor as the complete breakdown of society get in the way of having a good time, and their fun proves infectious.
    • 73 Metascore
    • 83 Nathan Rabin
    Though the filmmaking is pedestrian, The Camden 28's timeless truths come through with resounding power.
    • 82 Metascore
    • 83 Nathan Rabin
    In a heartbreaking, scene-stealing performance, Wilkinson plays his bipolar character's manic delirium as a heightened form of awareness, a life-affirming source of moral clarity in a cloudy and corrupt world.
    • 75 Metascore
    • 83 Nathan Rabin
    Attack The Block turns its modest budget into a virtue by focusing on character, especially the surprisingly charged, complicated dynamic between enemies-turned-allies Whittaker and Boyega.
    • 81 Metascore
    • 83 Nathan Rabin
    Everything here is pitched relentlessly toward uplift, but at least that uplift is genuine, the product of one visionary's indomitable will and a musical universe he brought into existence through vision, dedication, and plenty of stubborn hard work.
    • 71 Metascore
    • 83 Nathan Rabin
    In spite of the out-of-place pregnancy subplot, Smashed is a film of pummeling intensity and bruised emotions.
    • 81 Metascore
    • 83 Nathan Rabin
    Superman argues convincingly that everyone should have the right to a good education, not just folks lucky enough to score winning numbers: It should be a birthright, not a matter of chance.
    • 78 Metascore
    • 83 Nathan Rabin
    Ron Perlman returns as the film's loveable title character, a demon gone good who's tough on the outside but tender underneath, with a soft spot for kittens, candy, and babies.
    • 83 Metascore
    • 83 Nathan Rabin
    Crazy Heart could use more rough edges, but while it’s a little too sentimental and tidy, Bridges’ humane, deeply empathetic lead performance makes it easy to root for one man’s redemption.
    • 76 Metascore
    • 83 Nathan Rabin
    A funny, boozy, ramshackle party.
    • 70 Metascore
    • 83 Nathan Rabin
    Like "Upstream Color," Sun Don’t Shine owes a sizable debt to the philosophical lyricism of Terrence Malick. Working wonders on a tight budget, Seimetz uses handheld cameras and tight compositions to create an air of claustrophobic intensity interspersed with moments of ragged beauty.
    • 65 Metascore
    • 83 Nathan Rabin
    Sometimes feels like an all-time classic short film stretched to feature length, but it’s blissfully short, and it peaks at the end with a groovy cartoon during the closing credits.
    • 46 Metascore
    • 83 Nathan Rabin
    It's a relentlessly downbeat, well-acted melodrama that's easy to admire, but intentionally impossible to enjoy.
    • 69 Metascore
    • 83 Nathan Rabin
    With Dad and his last writer-director effort, "Sleeping Dogs Lie," Goldthwait has accomplished the formidable feat of making wry, tender, fundamentally sweet comedies about the human condition that just happen to center on acts of autoerotic asphyxiation and bestiality, respectively. That isn't easy.
    • 70 Metascore
    • 83 Nathan Rabin
    Boy
    In its third act, this funny, bittersweet, tonally assured coming-of-age story grows unexpectedly poignant as Rolleston comes to realize he doesn't need a super-cool buddy or co-conspirator in his misadventures. He needs a father, and Waititi's stunted man-child is fatally unsuited and unqualified for that role.
    • 64 Metascore
    • 83 Nathan Rabin
    Audience reaction to Outrage will depend heavily on how people feel about outing. Dick’s film probably won’t persuade anyone who finds the practice to be a loathsome and intrusive invasion of privacy, but after a relatively dry beginning, the film builds in passion and intensity until attaining a stirring cumulative power.
    • 54 Metascore
    • 83 Nathan Rabin
    Cohen no longer has freshness and novelty on his side, but he’s retained the power to shock, offend, provoke, unsettle, and most importantly, entertain a jaded, desensitized public.
    • 70 Metascore
    • 83 Nathan Rabin
    Like the best independent films, The Motel realizes that life is made up of minor pleasures and tiny epiphanies, not sweeping character arcs or big dramatic moments.
    • 82 Metascore
    • 83 Nathan Rabin
    Instead of hitting all the usual beats, Sugar just moseys in a mostly delightful way.