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For 397 reviews, this publication has graded:
  • 64% higher than the average critic
  • 1% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 In the Heights
Lowest review score: 0 Madame Web
Score distribution:
  1. Positive: 250 out of 397
  2. Mixed: 108 out of 397
  3. Negative: 39 out of 397
397 movie reviews
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  1. The Creator
    Technically amazing but conceptually old-hat, this sci-fi epic from Gareth Edwards makes a case for artificial intelligence through a bond between a protective human (John David Washington) and a dangerous human simulant packaged as an insanely adorable six-year-old girl. Discuss
  2. Beverly Hills Cop: Axel F
    Eddie Murphy is 63 now and sometimes the jokes seem just as retirement ready, but seeing the this comic legend return to the cop role he created four decades ago—along with many of the old gang— at least squeaks by as primo fan service.
  3. Hillbilly Elegy
    The movie dulls the social edge of J.D. Vance’s bestselling memoir about the Rust Belt’s white working class, but the performances of Glenn Close and Amy Adams make up the difference. As Mamaw, the chain-smoking matriarch of the clan, Close is simply sensational.
  4. Kingdom of the Planet of the Apes
    No. 10 in the series proves there’s still life, artful cosplay and action monkeyshines in the ape-verse that began in 1968, but a worrying case of franchise fatigue is sneaking in. Whatever happened to quitting while you're ahead?
  5. Haunted Mansion
    It could have been worse, but that’s no excuse for turning an exciting nine-minute theme-park ride into an overlong, star-stuffed 122 minute feature that is only fitfully funny and scary and soon wears out its welcome.
  6. Babylon
    There's about an hour of terrific movie in this love-hate look at lurid Old Hollywood. Too bad it’s trapped in three hours plus of self-indulgent bloat. Even the starshine of Margot Robbie and Brad Pitt dims as director Damien Chazelle rabidly bites the hand that feeds him.
  7. The Pale Blue Eye
    Christian Bale tries to solve a murder at West Point, circa 1830, with the help of young cadet Edgar Allen Poe (Harry Melling). But what should be a gothic mesmerizer ends up a dreary exercise to doom and gloom that’s an endurance test for audiences.
  8. Palmer
    In a shameless weeper that plays it strictly by the cliché book, compensation comes from the rugged sincerity of Justin Timberlake as an ex-con who becomes a surrogate dad to a gender-nonconformist seven-year-old boy, wonderfully acted by Ryder Allen.
  9. Coming 2 America
    It’s good to see Eddie Murphy again as Zumundan royalty, but the laughs in this tame, PG-13 sequel to the raucous, R-rated 1988 original feel predictable and played out as they strain to slide by on nostalgia. Your call.
  10. Cocaine Bear
    A bear does cocaine and kills people. That’s it. Director Elizabeth Banks revels in deliciously cheap thrills, but then treats her overqualified actors (Keri Russell, the late Ray Liotta) like bear chewtoys while the overcrowded script drifts into hibernation.
  11. Halloween Kills
    It gets the job done for trick-or-treat season, but this sequel falls short of expectations by sidelining its luminous star Jamie Lee Curtis and substituting rote mayhem for an inventively scary frightfest.
  12. The Tender Bar
    There’s nothing fresh or surprising about a boy coming of age with the help of his bartender uncle (Ben Affleck reminding us what a terrific actor he can be), but director George Clooney’s affection for the characters serves up a winning blend of laughs and tears.
  13. The Amateur
    It’s a promising premise—a nerdy CIA decoder (Rami Malek) turns unlikely action hero when his wife (Rachel Brosnahan) is murdered by terrorists—but the movie promises more than it delivers in terms of suspense, escalating tension and a reason for being.
  14. Bullet Train
    Brad Pitt’s laidback movie star magnetism is a joy forever. Too bad that the action-heavy, incoherently-edited, Japanese choo-choo he’s riding goes too quickly off rails from exhilarating to downright exhausting.
  15. I.S.S.
    Ariana DeBose and Chris Messina excel in this space thriller that sizzles with Russia vs America tension but all too predictably fizzles into a mild ride that is better than you might expect while falling way short of the wonder it so wants to inspire.
  16. Beast
    Think of it as Jaws on Safari and you'll have some idea what to expect from this generic thrill machine that requires Idris Elba to look great (he does) while doing battle with a digital lion.
  17. The Instigators
    Since heist movies are a dime a dozen, don’t get your hopes up. But thanks to the easy chemistry between Matt Damon and Casey Affleck, there is the kick of an acting job well done.
  18. Antebellum
    This socially-conscious horror film keeps tripping over its big ideas, but Janelle Monae—in her first starring film role—blazes with ferocity and feeling.
  19. Road House
    Star Jake Gyllenhaal and director Doug Liman huff and puff to reimagine the bawdy B-movie punch of the 1989 original with Patrick Swayze, but despite putting a fresh coat of paint on this rickety old jalopy, there’s still nothing under the hood.
  20. Marry Me
    It’s shameless fluff wrapped in a blanket of bland. You won’t believe a word of this romcom knockoff, but JLo and Owen Wilson work real hard to convince you that love is the answer.
  21. Fast X
    Only glints of the old whiplash magic remain in chapter 10 as thrills give way to thudding formula and paycheck acting—not you Jason Momoa—that slow down the action to forge the limping runt of the F&F litter.
  22. A Minecraft Movie
    The comic pairing of Jack Black and Jason Momoa makes this video game-turned-PG-movie pablum seem better than the cash grab it is. But not by much. Still, there’s no shame in being strictly kids’ stuff that knows how to serve and entertain its audience.
  23. Megalopolis
    With so little to show for its staggering ambition to synthesize modern New York with the fall of the Roman Empire, Francis Ford Coppola's all-star, self-financed passion project is a mess, but the lion who made it is still roaring, even in winter.
  24. Mothers' Instinct
    This 1960s-era soap opera is less a movie than an excuse for Oscar-winners Anne Hathaway and Jessica Chastain to dress to thrill and try to kill each other. With stars like these, you can almost forget how quickly the plot drifts off into absurdity.
  25. Those Who Wish Me Dead
    Angelina Jolie, back in action mode as a haunted smokejumper seeking redemption, gets the job done if you’re looking for action escapism, but those who wish for something deeper and more resonant are plum out of luck.
  26. Fatherhood
    Edgy comic Kevin Hart smooths out his rough edges to play a widower trying to raise his daughter alone. Hart can act, but he can’t act his way out of a sappy script that too often mistakes manipulative laughs and tears for genuine emotion.
  27. Transformers: Rise of the Beasts
    Wait a hot minute here. Can a new Transformers movie actually be bearable? Let’s not get carried away, but a diverse cast and the absence of ham-handed former director Michael Bay qualify as a step in the right direction.
  28. Bad Boys: Ride or Die
    The fourth round for Will Smith and Martin Lawrence isn’t a bad movie, really, just another mediocrity trying to cash in on what came before, the kind of money grab that’s killing movies by serving leftovers as the main course. Resist, people, before it's too late.
  29. Jungle Cruise
    The Rock and Emily Blunt knock themselves out to entertain in this dopey, derivative, theme-park ride of a movie. But, hey, the kids will love it and in the words of the Metallica thrasher that bizarrely found its way onto the soundtrack, “nothing else matters.
  30. Maria
    Angelina Jolie fires up the best actress Oscar race as opera legend Maria Callas, but director Pablo Larraín's muffled cinematic take on the prima donna’s last days commits the cardinal sin that Callas never did as an artist by leaving us on the outside looking in.
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