Empire's Scores

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For 6,821 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Oppenheimer
Lowest review score: 20 Superman IV: The Quest for Peace
Score distribution:
  1. Positive: 3,008 out of 6821
  2. Mixed: 3,655 out of 6821
  3. Negative: 158 out of 6821
6821 movie reviews
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  1. The Face of an Angel
    On one level a fascinating refraction of the Amanda Knox trial into an examination of perception, on another an increasingly trying hall of mirrors.
  2. Endings, Beginnings
    A return to form for indie darling Drake Doremus, who brings his nuance, sensitivities and homespun feel to a formulaic love-triangle set-up. Jamie Dornan, Sebastian Stan and especially Shailene Woodley make it very watchable.
  3. Torremolinos 73
    This is a gentle, camp but nonetheless revealing satire on how a nation circumvented the social strictures imposed upon it by Franco's fading fascist regime.
  4. City Island
    An, at-times, marvellous muddle of high farce and low-brow chuckles.
  5. Still the Water
    While beautiful, early scenes of shocking violence give way to philosophising and gauche symbolism.
  6. The East
    Well-acted and suspenseful, with a great deal of editorial content, this feels a little awkward and earnest, and perhaps not angry enough.
    • 47 Metascore
    • 60 Critic Score
    The Ardennes
    The film’s bleak, Coen-esque sense of isolation, cold brutality and clutch of confident performances...make for a decent and engaging story that culminates in an enjoyably nasty conclusion.
  8. In the Cut
    Romantic images are subverted, the sex scenes are graphic and desperate. It's less grim than Susanna Moore's original novella, but the foreshadowing that all is not right is in everything, from the music to the dialogue.
    • 41 Metascore
    • 60 Critic Score
    The Limits of Control
    Cool, handsome, self-assured... but, as the existentialists might say, what’s the bloody point?
  10. Extremely Wicked, Shockingly Evil and Vile
    Efron gambles with his image, but he knows when to up the star power. It’s perhaps fitting that the film falls flat when he, playing a killer who loved the spotlight, leaves the screen.
  11. The Gay Divorcee
    The second outing for Fred and Ginger which cemented their partnership can be irritating in it's romantic machinations but the Astaire flair is always winning.
  12. Max
    The truly effective emotional arc is handed to the furry member of the cast.
  13. Ask the Dust
    A curiously resistable drama, despite several strong elements - the most notable being newcomer Idina Menzel.
  14. The Fox and the Hound
    While the backgrounds and animation are wonderful, the film suffers from an intensely depressing middle section, full of heart-stopping chases, damaged friendships and forgettable songs more likely to invoke fidgets than sniffles among the younger contingent in the audience.
  15. Ophelia
    An interesting, well played and well made attempt to reframe Shakespeare’s most famous play through a feminist lens, Ophelia ultimately doesn’t have the boldness to deliver on its resonant idea.
  16. Paranormal Activity 4
    Catfish pair Joost and Ariel Schulman keep the franchise firmly on track with a satisfyingly scary fourth instalment.
  17. Capone
    It doesn’t completely work and lacks complexity, but Capone is scene-for-scene more interesting than many slicker films. Hardy’s swing-for-the-fences performance is a must-see.
  18. Brad's Status
    A droll and vigorous psychological study of an everyday egomaniac, but we’ve seen Stiller do this sort of thing before, and better.
  19. Street Kings
    Another mean, violent and decently acted slab of Ellroy-flavoured criminality, with an impressively battered Keanu Reeves, but Ayers is no Curtis Hanson.
    • 69 Metascore
    • 60 Critic Score
    Man Up
    If it could decide whether it was a cute romcom or a dirty one, Man Up would be a real gem, but as charming as it is, it falls between two stools and never manages to, ahem, Man Up.
  21. Dark Shadows
    A word of warning: this is not the knockabout comedy the trailer suggests. Instead, it cleaves closer to what you expect from Burton: darkness, quirk and Johnny Depp on great form. A step up, then, from Alice In Wonderland and Charlie And The Chocolate Factory, but not tip-top Tim.
  22. The Frozen Ground
    With Cage as a harried cop, Cusack as a serial killer and 50 Cent as a pimp, we're assuming the casting department kicked off early on this one. Still, there's plenty in this taut thriller for you to stick around for, not least the reuniting of the Con Air duo.
  23. Truly Madly Deeply
    A divisive film - too overwrought for some, perfectly emotionally pitched for others - how much it will appeal will depend on how romantically inclined the viewer is feeling.
  24. The Kentucky Fried Movie
    Smart and satirical but very dated, obviously.
    • 77 Metascore
    • 60 Critic Score
    Kramer vs. Kramer
    This looks, in retrospect, like nothing much more than a glossy soap passed off as serious drama.
  26. Thunderbolts*
    It doesn’t always land, but it dares to be different, from the title to the team-up. Fresh and thoughtful in a way recent Marvel efforts haven’t always managed.
  27. Ghost in the Shell 2: Innocence
    The visuals are an animation student's wet dream, the dialogue an English student's nightmare - but for Japanimation fans it's a big-screen must-see.
  28. Prisoners of the Ghostland
    Prisoners Of The Ghostland is by turns brilliant and rubbish. Cage is in his element, it has visual invention to spare, and the fight scenes are fun, but it’s a shame such imagination is tethered to equally all-over-the-place storytelling.
  29. You People
    It hardly breaks the romcom mould, but You People is funny and thoughtful on how race can still divide a relationship. As the in-laws from hell, meanwhile, Eddie Murphy and Julia Louis-Dreyfus are the undeniable highlights.
  30. The Warriors
    Hill, shooting by night and on location together with his OOP Andrew Laszlo, gives the film dazzling style. New York's oil-slicked streets become a labyrinth lit by pools of reflecting light, both scary and strangely beautiful - grimy realism it isn't. It also manages to humanize the gang-bangers to a surprising extent, illustrating the material and emotional poverty that forces them onto the streets in the first place.
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