For 1,011 reviews, this critic has graded:
  • 47% higher than the average critic
  • 1% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 7.6 points lower than other critics. (0-100 point scale)

Rex Reed's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Dark Waters
Lowest review score: 0 Raw
Score distribution:
1011 movie reviews
    • 60 Metascore
    • 75 Rex Reed
    The dialogue is dull as dried glue, but the acting is fine, although the boundless range and skill of Redmayne is wasted, which might account for the reason he doesn’t appear to enjoy the ride as much as he could. Unfortunately, we’ve seen it all before with motorcycles, submarines, airplanes and ships at sea in peril instead of hot-air balloons.
    • 61 Metascore
    • 25 Rex Reed
    Helen Hunt is a good actress with an Oscar on her mantle and practically no ability to choose a decent movie script based on quality or entertainment value. She’s been absent from the screen far too long, so it’s a pleasure to welcome her back, but not in a labored, amateurish charade as bad as I See You.
    • 42 Metascore
    • 25 Rex Reed
    She (Watts) produced it to show off the range of her obvious talent, and deserves an A for effort in a vehicle that rates a D for dreary, desolate and depressing. The rest of The Wolf Hour deserves an F for forget it.
    • 15 Metascore
    • 0 Rex Reed
    Gary Oldman, in the worst performance of his career, plays a one-eyed slum lord and master villain named Ezekiel Mannings.
    • 82 Metascore
    • 75 Rex Reed
    Intentional or not, this alleged thriller is more of a comedy, and maybe I’m just jaded, but to me, there isn’t a genuine thrill in sight.
    • 73 Metascore
    • 100 Rex Reed
    Riveting, responsible and deeply unsettling, a first-rate film like Dark Waters is a rare and welcome chapter in the dramatic fabric of how one unlikely person can make a big dent in the world of social injustice.
    • 55 Metascore
    • 75 Rex Reed
    Together, they redefine rapture.
    • 81 Metascore
    • 88 Rex Reed
    Waves is a demanding and absorbing family drama that unfolds in two parts without lines of division, yet both parts are distinctively and stylistically different. The film is too long, but I was impressed and riveted throughout.
    • tbd Metascore
    • 0 Rex Reed
    There’s nothing to make your hair stand on end in The Shed because it’s not convincing. Despite walk-ons by a pair of experienced professionals, Timothy Bottoms and Frank Whaley, the actors are unknown for a reason, and despite familiar weapons of self-defense such as fires, shotguns, hatchets and chainsaws, the plot is jokey and the action defies all logic.
    • 47 Metascore
    • 50 Rex Reed
    You can’t fault the actors, who play the sadism for tough, two-fisted realism, but Crown Vic (a title that makes no sense; there’s nobody named Vic in it) is still a cheap copy of Training Day and a crash course in lock-jawed cynicism 101. Not to mention the worst P.R. the city of Los Angeles has had since the Rodney King scandal.
    • 94 Metascore
    • 75 Rex Reed
    The divorce part fades in and out of focus while the marriage part unravels in flashbacks. Sometimes they drag on so long you can’t tell the difference. Still, it’s intelligent enough to like it a lot in retrospect.
    • 73 Metascore
    • 25 Rex Reed
    Honey Boy is a dolorous example of an alarming trend in modern movies — the miraculous ability of an infinitesimal talent to raise money for an obnoxious, self-indulgent film about his own life designed to appeal to absolutely nobody except the arrogant subject himself. In this instance, the jerky centerpiece in love with himself to the detriment of everyone in the audience is Shia LaBeouf.
    • 32 Metascore
    • 75 Rex Reed
    Recent complaints about action flicks with no action can be ameliorated by Primal, a white-knuckle thriller with a thrill a minute. Nicolas Cage delivers his best performance in years.
    • 80 Metascore
    • 50 Rex Reed
    Unfortunately, it turns to be duller and infinitely more stagnant than most Hollywood dreck. But it is partially saved by very good actors who struggle valiantly to make it less monotonous than it is.
    • 66 Metascore
    • 88 Rex Reed
    With enough terror to satisfy modern audiences and enough underplayed plot movement to save it from conventional biopic trajectory, Harriet holds interest and invites respect. It is still not the great Civil War epic it could have been, but it’s solid enough to work, and Cynthia Erivo’s valiant and committed performance is a wonderful achievement.
    • 51 Metascore
    • 75 Rex Reed
    Sensitively directed by the Israeli duo Mihal Brezis and Oded Binnun, The Etruscan Smile is a perfect example of what can happen when a great, versatile and powerful actor raises familiar material above and beyond the level of mediocrity.
    • 60 Metascore
    • 38 Rex Reed
    Motherless Brooklyn is so messy, confusing and pointless that you don’t know what’s going on half the time, and couldn’t care less.
    • 29 Metascore
    • 75 Rex Reed
    The Great Alaskan Race is the vigorous, heartbreaking film about that true story that will leave you cheering.
    • 75 Metascore
    • 100 Rex Reed
    By the Grace of God is still one of the best films of 2019.
    • 16 Metascore
    • 0 Rex Reed
    Even a guest appearance by Jamie Lee Curtis couldn’t bring this celluloid zombie to life.
    • 58 Metascore
    • 50 Rex Reed
    It’s a well-meaning idea that never quite succeeds on the levels of either comedy or drama. Call it a noble failure.
    • 70 Metascore
    • 75 Rex Reed
    The result is fascinating, informative, educational and totally entertaining.
    • 31 Metascore
    • 25 Rex Reed
    At the movies, bad things happen to good people all the time. But it’s especially lamentable to see two sterling silver talents of the caliber of Gary Oldman and Emily Mortimer trapped in a mindless trifle like Mary. It’s a watery tale of supernatural nonsense at sea as lost and immobile as a beached mackerel.
    • 38 Metascore
    • 25 Rex Reed
    Directed by Ang Lee (Brokeback Mountain) with an impressive cast that includes Will Smith and Clive Owen, the sci-fi action thriller Gemini Man should be better than the ossified bore it is. Instead, it substitutes the gimmicks technology-freaks might call “innovative” for anything that remotely resembles any element of plot, character development, or entertainment value.
    • 59 Metascore
    • 88 Rex Reed
    A movie that borders on genius—repellant, dark, terrifying, disgusting, brilliant and unforgettable.
    • 64 Metascore
    • 50 Rex Reed
    There is insufficient character development and insight, and the film has no ending, so the viewer just hangs in space, asking a million questions for which there are no answers. Low Tide wafts, and so does audience interest.
    • 88 Metascore
    • 88 Rex Reed
    Painful for sure, but glorious too, Pain and Glory is Spanish wunderkind Pedro Almodóvar’s best and most moving film in years—a brave and wrenching self-portrait of an aging artist under the siege of age and the fear of death.
    • 66 Metascore
    • 50 Rex Reed
    Despite an avalanche of misguided raves, Renée Zellweger as the greatest entertainer of the 20th century in a film called simply Judy is nothing more than another gimmick. You won’t get the real deal here, no matter which gushing hysteric you read.
    • 63 Metascore
    • 75 Rex Reed
    In Villains, an energetic combination of black comedy and lazy thriller that is more of an attention grabber than most of what passes for disorganized, empty-headed, juvenile horror in today’s sociopathic cinema, four very good actors give it all they’ve got for nearly 90 minutes. Considering most of what I’ve suffered through this year, that passes for praise.
    • 40 Metascore
    • 25 Rex Reed
    Ho-hum. Running with the Devil is yet another generic drug trade thriller that defies coherence, embraces clichés, and wastes the time and talent of Nicolas Cage.

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