For 2,540 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 3.3 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Of Gods and Men
Lowest review score: 0 She Hate Me
Score distribution:
2540 movie reviews
    • 79 Metascore
    • 83 Peter Rainer
    How intently should we take Joel and Ethan Coen as artists? Despite their extreme unevenness and the flip misanthropy that runs through their work, I think they deserve to be taken seriously as such. In this new film, their extraordinary jeweler’s-eye attention to detail, their gift for concocting dialogue in plummy 19th-century vernacular, their lyrical embrace of wide-open landscapes, and their woeful nihilism that conceives of a world where paradise is always on the precipice of ruination are hallmarks of something much more than mere jokesterism.
    • 59 Metascore
    • 58 Peter Rainer
    Jackman, sporting a distracting, Hart-like brown hairpiece, seems miscast. He doesn’t convincingly convey this politician’s swagger and slickness, and Reitman’s attempts to mimic a loose-limbed political movie in the style of, say, Robert Altman’s “Tanner '88” series or “The Candidate” are rather leaden. It’s a film that’s less interesting to watch than to discuss afterward.
    • 78 Metascore
    • 91 Peter Rainer
    It was beset by legal woes and held in French vaults and labs for almost 40 years. Both Neville’s film and “The Other Side of the Wind” are being released simultaneously in theaters and on Netflix. I would advise seeing Welles’s film first. It’s more rewarding and less confusing that way.
    • 79 Metascore
    • 91 Peter Rainer
    As it turns out, bearing Welles’s words in mind, it becomes almost a meta version of Welles’s movie. I would like to think that the great magician himself would have approved.
    • 87 Metascore
    • 91 Peter Rainer
    Given the slam-bang slapstick featured in so many of her movies, I have to admit the subtlety and fullness of [McCarthy's] performance in this film did hit me as a shock to the system.
    • 90 Metascore
    • 83 Peter Rainer
    It builds slowly, and, at almost 2-1/2 hours, it occasionally drags. But it’s worth the time. This is a very knowing movie about the ultimate unknowability of people.
    • 76 Metascore
    • 67 Peter Rainer
    One of those movies with a terrific premise left unfulfilled.
    • 83 Metascore
    • 91 Peter Rainer
    Despite, or perhaps because of, these constraints, it’s one of the most cinematically alive movies of the year.
    • 63 Metascore
    • 58 Peter Rainer
    Whatever the approach, there isn’t enough psychological heft to the drama to make it seem much more than generic.
    • 84 Metascore
    • 67 Peter Rainer
    First Man pays lip service to the politics of the cold war that surrounded the moon shot, but it’s not that kind of movie, really. For all its scale and ambition, it’s essentially a small-scale character study. The character, Armstrong, is microscopic, and the backdrop is macroscopic. It’s an odd, uneasy fit.
    • 88 Metascore
    • 83 Peter Rainer
    The surprise is that, at least for its first half, this newest A Star Is Born is so powerfully fresh.
    • 78 Metascore
    • 67 Peter Rainer
    The cast is strong, though, and demonstrates yet again how good acting can carry audiences through movies that otherwise would not be worth the trip.
    • 79 Metascore
    • 58 Peter Rainer
    I hope this won’t be his last acting job. He’s too vital to go in for such a soggy send-off.
    • 79 Metascore
    • 83 Peter Rainer
    It’s impossible not to be charmed by these students, by their aspirations and idealism, not to mention the fact that one of them, or someone like them, may well end up winning a Nobel Prize. It’s also impossible not to recognize, although the movie does not make a political point of it, that a goodly percentage of these participants are first- or second-generation immigrants to the United States.
    • 67 Metascore
    • 67 Peter Rainer
    The best part of the movie is when the few who make it through are introduced to their new owners. It’s love at first touch.
    • 64 Metascore
    • 83 Peter Rainer
    A better movie would not have hinged its thesis so closely on Anna’s innocence. The film doesn’t fully allow for the fact that the issue of Anna’s veracity, or lack of it, is essentially a sideshow.
    • 62 Metascore
    • 83 Peter Rainer
    For a movie that is about a collection of oddballs, it can sometimes feel rather generic. But at its core, the film is not a comedy at all. The eccentricities issue from real adversity.
    • 83 Metascore
    • 50 Peter Rainer
    The movie is all nuance and it continually wafts away into artiness.
    • 67 Metascore
    • 83 Peter Rainer
    One of the bright sidelights to Juliet, Naked is the bemused way it deals with the crazy-making ramifications of hero worship.
    • 69 Metascore
    • 91 Peter Rainer
    Although the role may not have been written with great depth, Hussain’s performance as Mirza is richly layered.
    • 83 Metascore
    • 67 Peter Rainer
    If we are being asked to regard BlacKkKlansman as more than a movie, this may be another way of admitting that, on some fundamental level, it falls down as anything but revue sketch agitprop.
    • 60 Metascore
    • 75 Peter Rainer
    It takes awhile to get going but, still, it’s rather sweet.
    • 70 Metascore
    • 83 Peter Rainer
    The documentary is an attempt, in the words of those behind the film, to “investigate the very nature of family itself.” That this attempt is overreaching and diffuse does not detract from the film’s sporadic power.
    • 72 Metascore
    • 83 Peter Rainer
    Dark Money should set off warning bells for even those who believe that the Citizens United decision, equating corporations with people and money with speech, was a First Amendment victory for free speech.
    • 89 Metascore
    • 83 Peter Rainer
    Burnham avoids most of the “Mean Girls”-style tropes in favor of a more gently humorous and nuanced approach.
    • 86 Metascore
    • 75 Peter Rainer
    As summer franchise movies go, Mission: Impossible – Fallout is near the top of the heap.
    • 83 Metascore
    • 83 Peter Rainer
    What rescues the film from melodrama is that Legrand drew on extensive interviews with psychologists, emergency police personnel, female victims, and batterers. The bone-deep chill of real, observed experience cuts through this film and gives it a verity that at times reminded me of Frederick Wiseman’s harrowing documentary “Domestic Violence.”
    • 60 Metascore
    • 42 Peter Rainer
    The film cuts back and forth between the present and 1979, when Donna, blandly played as a young woman by Lily James, met her three beaus and went gaga for Greece. Scenery-wise, I can see why she did. I trust that everyone connected with this film had time to work on their tans.
    • 45 Metascore
    • 50 Peter Rainer
    It’s a rote piece of work that, oddly, also feels dated even at a time when the press and the White House have rarely been more at odds.
    • 54 Metascore
    • 83 Peter Rainer
    It’s a perplexing, fascinating, maddening movie, not quite like any other film biography of a famous painter, most of which tend to be equal parts ho-hum and hokum.

Top Trailers