ReelViews' Scores

  • Movies
For 4,652 reviews, this publication has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Arrival
Lowest review score: 0 A Hole in My Heart
Score distribution:
4652 movie reviews
  1. I'm sure mainstream audiences will be baffled, but, for those with at least a minimal appreciation of Woolf and Clarissa Dalloway, The Hours represents two of those well spent.
  2. There is sadness and humor here, but all understated.
  3. Connie (Robert Pattinson) is one of those individuals who constantly seems to be on the edge of a violent explosion and that potential makes watching Good Time a frequently exhausting experience.
  4. There's something old-fashioned about Everlasting Moments. Although the shots are beautifully composed, they are classically represented. Both the filmmaking methods and the storytelling are uncomplicated.
  5. A touching, well-made motion picture whose only real flaw lies in the overfamiliar storyline.
  6. One of the best-constructed, funniest, and most clever comedies to grace motion picture screens in recent years. It's outrageous, offensive, and even a little sick -- and all the more enjoyable because of it.
  7. Constrained by expectations and established character/plot limitations, Incredibles 2 lacks the freshness and ingenuity displayed by its predecessor. It’s good, fun family entertainment but it’s not incredible.
  8. This is no longer the James Bond we know from the '60s, '70s, '80s, and '90s. Welcome to the new world of MI6's most storied agent.
  9. Much Ado about Nothing is a gem of a movie - a real find in 1993's sea of mediocrity. Branagh has successfully used a mixed cast of "names" and "unknowns" to breathe life into this lavish production, and never has Shakespeare been more warmly received. I'm not sure if "feel good" has ever been used to describe a picture based on the Bard's work, but the expression fits. This film cements Branagh's status as a great director of Shakespeare, and perhaps of film in general, as well.
  10. In addition to their deft skill with light drama, the directors understand well-placed humor, and throw just the right amount of comedy into the mix to make Big Night fun without turning it into an outright farce.
  11. This film is sometimes funny, sometimes joyful, and sometimes poignant, but it's always warm, wonderful, and satisfying. Cinema Paradiso affects us on many levels, but its strongest connection is with our memories.
  12. Of recent films, Christopher Nolan’s "Interstellar" is the best comparison. Ad Astra isn’t quite as strong but it’s in the same ballpark.
  13. The story, although straightforward, is by no means simple, and there's enough in The Secret of Roan Inish to delight both children and adults.
  14. In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.
  15. Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.
  16. De Niro successfully varies the tone, keeping it light and playful at times, dark and somber at others. A Bronx Tale is his triumph, and a testimony that all those years of watching the best in the business have borne fruit. If what is yet to come has any of the promise shown by this debut, we may be witnessing the birth of yet another directing talent.
  17. The Coens have fashioned one of the best Westerns in recent years - a modern reworking of a classic that never feels superfluous.
  18. The movie feels like Baumbach is working through some family issues.
  19. Caused a major stir with Sundance, and for good reason -- it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there.
  20. So what’s the final verdict? A mixed bag. It’s a good start to a new trilogy but hardly the hoped-for masterpiece. It’s a solid space opera spectacle with enough nostalgia to overpower even the most hard-hearted child of the ‘70s and ‘80s but it relies a little too much on recycling old plot elements.
  21. Despite rave reviews, film festival awards, and an Oscar nomination, Spellbound comes across as little more than a marginally compelling documentary -– the kind of movie that would be at home on PBS.
  22. At an economical 94 minutes, Rabbit-Proof Fence trims all the fat and tells its heartfelt and stirring story. This is one of 2002's most memorable imports.
  23. Story itself is richly rewarding and uplifting -– the coming-of-age tale of a girl who must defy the odds to achieve her goals. There's plenty of humor to keep the overall tone light.
  24. A degree of unevenness is expected and that’s what Barbie delivers: a delightful confection at its best, an unfocused jumble at its worst.
  25. It affirms that, even in the 2000s, movies do not have to be brain-dead to be exciting. When the season is over, Minority Report will more than likely stand out as the best picture to grace multiplex screens during the Summer of 2002.
  26. The Simpsons is interested in being a family film, although this is one of those rare animated occasions when adults are the primary audience. I, for one, couldn't be happier.
  27. Ultimately, Strange Darling left me with a little “Emperor’s New Clothing” feeling, with all the excitement coming not from the actual story but from the manner in which it is presented.
  28. A celebration of Mr. Rogers and the healing capabilities of his words and doctrine, the movie may not be a splashy as many of the year-end multiplex stocking stuffers but the experience it offers tugs effectively at the heart strings.
  29. Blank uses humor to make her points and they are all-the-more memorable as a result.
  30. Are French films stuffy? At times, yes, and that's one of many reasons why even the most "accessible" French movies are relegated to art cinemas in this country. Irma Vep gleefully defies such facile labeling, however. This is a sly, sexy endeavor that presents its audacious viewpoint with style and intelligence. Irma Vep features some wonderful performances (notably those of Cheung, Leaud, and Richard), that, in concert with its sure direction and smart script, make for a wholly satisfying motion picture.

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