For 1,457 reviews, this critic has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 3.7 points lower than other critics. (0-100 point scale)

Rick Groen's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Quick Change
Lowest review score: 0 Far and Away
Score distribution:
1457 movie reviews
    • 47 Metascore
    • 63 Rick Groen
    Chaplin is a mediocre movie that you can't take your eyes off. Your wandering mind is telling you one thing: This is a standard check-list biography, the kind of glossy whitewash that treats a man's accomplishments like so many vegetables from the produce aisle - toss 'em in, tick 'em off, and move on. But those riveted eyes are saying something else entirely - they're watching Robert Downey, Jr. with rapt attention, marvelling at his every move, pondering his every gesture.
    • The Globe and Mail (Toronto)
    • 64 Metascore
    • 88 Rick Groen
    TERRIFIC cast, imaginative direction - Patriot Games is such an enjoyable film that you keep hoping it will go the extra mile, that it will transcend the action-genre and progress from an intelligently made picture to an intelligently themed picture, That it doesn't - not quite, anyway - is mildly disappointing but easily forgiven; there's a lot to be grateful for here. [9 June 1992]
    • The Globe and Mail (Toronto)
    • 54 Metascore
    • 63 Rick Groen
    Murphy's brand of crude is studied and sleek, all high-polish and sheer calculation. As a performer, he's stylishly smooth; as a comic, that very smoothness is both his greatest strength and his abiding weakness. [22 Dec 1987]
    • The Globe and Mail (Toronto)
    • 45 Metascore
    • 38 Rick Groen
    A more inspired director might have salvaged something else, but Dante's point-of-view camera and consciously quirky angles just don't cut it. His horror-genre shots are stylized but not stylish, a by-the-numbers parody without any redeeming individuality. [17 Feb 1989]
    • The Globe and Mail (Toronto)
    • 65 Metascore
    • 75 Rick Groen
    This broad farce about a group of soap-opera stars is played at a hysterical pitch, but there are some real chuckles amid the mayhem. [31 May 1991]
    • The Globe and Mail (Toronto)
    • 37 Metascore
    • 50 Rick Groen
    Winnie begins as hagiography and ends in hellish confusion.
    • 58 Metascore
    • 75 Rick Groen
    The narrative meanders on occasion, the conceit can seem repetitious, the editing is loose. Nevertheless, buoyed by the naturalism of its exclusively young cast, the picture effectively gets into your head and under your skin.
    • 57 Metascore
    • 75 Rick Groen
    In the end, then, just Vanessa Redgrave and Terence Stamp and those voices – their solos contain this picture like carved book-ends, vintage and lovely and still so profoundly of use.
    • 60 Metascore
    • 50 Rick Groen
    If this were funny, The Heat would add up to your average buddy-cop comedy. Except that it’s not funny, at least not very and not often.
    • 66 Metascore
    • 75 Rick Groen
    How do you make a movie about shallow people in a shallow culture and not end up with a shallow movie? For writer-director Sofia Coppola, the answer is to dramatize a story “based on actual events,” then to step back and present it as a case study in pure anthropology.
    • 76 Metascore
    • 88 Rick Groen
    A remarkable documentary as important as it is compelling.
    • 67 Metascore
    • 38 Rick Groen
    There are a few laughs at the start of This Is the End, and a couple more at the end of This is the End. As for the endless middle, it’s middling.
    • 94 Metascore
    • 88 Rick Groen
    It plays like documented fact, a kind of "7 Up" primer on life’s romantic vicissitudes.
    • 41 Metascore
    • 50 Rick Groen
    So, fans, gear up for rock-em-sock-em action, yet don’t be disappointed if much of the goonery seems a bit tepid and, dare I say, staged.
    • 76 Metascore
    • 63 Rick Groen
    An overdose of sympathy makes for a wispy picture, likeable certainly but lacking in crispness and clarity.
    • 60 Metascore
    • 75 Rick Groen
    As the title more than hints, Love Is All You Need is no stranger to formulaic clichés, but it’s still a Bier film. There’s a sprinkling of vinegar in the treacle, a bit of ballast in fancy’s lightweight flight, and, of course, the triumph of optimism that can seem unearned in her dramas is made to measure in a comedy.
    • 30 Metascore
    • 0 Rick Groen
    Not just bad, but weirdly, fascinatingly bad.
    • 65 Metascore
    • 75 Rick Groen
    Still, credit Gondry, like Tocqueville before him, with at least re-examining tired clichés and scraping the rust off stereotypes.
    • 57 Metascore
    • 63 Rick Groen
    Director Dan Algrant’s conceit here is to take an actual event – a tribute concert for Tim held at a Brooklyn church in 1991, the concert that sparked Jeff’s own career – and wrap a fictionalized drama around it.
    • 69 Metascore
    • 75 Rick Groen
    En route, despite some clumsy exposition and the reduction of heavyweights like Mary McCarthy and William Shawn to fifth-business caricatures, the film does manage one impressive intellectual achievement of its own: rescuing that “banality of evil” phrase from the banal cliché it’s become and, by providing the full and daring context, giving it real meaning again.
    • 80 Metascore
    • 63 Rick Groen
    Are these enlightened critics or dark nutcases themselves?
    • 55 Metascore
    • 88 Rick Groen
    It’s a terrific adaptation that succeeds not only as a work of cinema but also, wonderfully, as proof of the novel’s greatness. In short, the picture rebukes the revisionists even while entertaining them.
    • 62 Metascore
    • 50 Rick Groen
    In a kind of perverse alchemy, this film manages to turn that narrative gold into dross, and reduce the daunting perils of a 4,300-mile voyage to a ho-hum checklist. Welcome to the reverse magic of the movies.
    • 57 Metascore
    • 63 Rick Groen
    In The Company You Keep, old radicals never die – they just turn into old actors.
    • 28 Metascore
    • 50 Rick Groen
    It’s just such a shining example of a dull studio comedy.
    • 57 Metascore
    • 63 Rick Groen
    The humour may not be wickedly black, but once in a while it’s amusingly beige.
    • 54 Metascore
    • 63 Rick Groen
    Oblivion is an okay blockbuster, a multimillion-dollar exercise in competence.
    • 68 Metascore
    • 63 Rick Groen
    Once again, Cianfrance handles the individual scenes with menacing aplomb but, once again, the whole is much less than the sum of its parts.
    • 61 Metascore
    • 63 Rick Groen
    Individually, Dawson and Cassel each generate plenty of screen heat, but, together in that one bedroom scene, their chemistry is downright explosive, so much so that it seems we have strayed into a whole different movie, and dearly want to stay there.

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