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For 7,797 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 13th
Lowest review score: 0 Wide Awake
Score distribution:
  1. Positive: 4,958 out of 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
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  1. Down in the Delta
    Roots matter, is Angelou’s Hallmark-style lesson. So for good measure, novice screenwriter Myron Goble also includes an unsubtle subplot about a candelabra that has been in the family since slaves were freed, thereby throwing one more ingredient into this thick dramatic gumbo.
  2. Frantz
    Every one in the film, down to the smallest characters on the fringes, is keeping secrets and spinning lies. And those lies beget more lies and more until the truth is a distant memory. It’s what can happen when life feels too overwhelming and unbearable to face.
  3. Val
    The result is undoubtedly a canny mediation on the vagaries of fame, but it feels more intimate and essential than that: a lifetime of searching and self-regard distilled, somehow, into a state of grace.
  4. All About Lily Chou-Chou
    Gorgeously shot tableaux of random adolescent brutality are interrupted by flashes of computer garble and chat-room talk, backed by ''Lily's'' music, with its blend of Debussy-like arpeggios and Enya-like sighing.
  5. Wordplay
    Shortz's gentle manner and French-foreign-agent mustache go a long way toward making him a thinking girl's pinup nerd - and this despite the man's pitiless insistence on making the Saturday New York Times crossword puzzle ''tough as a _ _ _ _ _ _ _ _ _ _ _ _.''
    • 73 Metascore
    • 58 Critic Score
    Queen of Katwe
    Nyong’o’s gravitas is undercut by a script teeming with wooden platitudes, special lessons learned, and the overbaked dialogue of a Joan Crawford melodrama.
  7. Time
    Time, Kim Ki-Duk's pointed commentary on surfaces and consumer fads -- with particular meaning for plastic-surgery-obsessed South Korea -- is as tautly ''pretty'' and inexpressive as the results for those who compulsively seek cosmetic perfection.
  8. I'm Not There.
    I'm Not There lets you hear it again, more majestically than ever.
  9. Of Mice and Men
    Lyrical, stirring, and beautifully acted — a seamless adaptation of a novel many will recall with almost too much familiarity.
  10. Inside Out 2
    Inside Out 2 can surely be used by parents as a teaching tool if a kid ever spirals into a freak-out before entering a new school or having a big audition. But even with the antic animation, a funny dig at Blue's Clues, and a color palette resembling an exploded box of Trix cereal, the movie suffers from a bit of a do-your-homework vibe.
  11. The Proposition
    A pitiless yet elegiac Australian Western as caked with beauty as it is with blood.
  12. The Son's Room
    It takes skill these days, if not nerve, to put a vital, happy nuclear family on screen and to invite us to share in every quiet tremor, every gentle jostle and smile of their steady, deep-flowing contentment.
  13. The Man Who Wasn't There
    Isn't content to stick to the genre conventions it sets up. Instead, it sprawls and mutates into one of the Coens' elaborate gizmoid yarns.
  14. The Bourne Supremacy
    A conventionally heightened series of escapes and clashes and hide-and-seek gambits, yet the way the film has been made, nothing that happens seems inevitable -- which is to say, anything seems possible. There's a word for that sensation. It's called excitement.
    • 73 Metascore
    • 83 Critic Score
    Robin and Marian
    The social satire gets precious at times, but Connery (sans hairpiece!) and Hepburn (swathed for the first hour in a nun’s wimple) bring a fervid depth of feeling to their characters’ rekindled courtship.
  16. The Fall Guy
    The Fall Guy offers a potent blend of action and romance, as refreshing as one of its touted “spicy margaritas.” Sure, it’s got a little kick, but mostly, it exists to ensure that anyone who consumes it has a fantastic time.
  17. Creed III
    Majors, already seemingly inescapable this year, brings a wounded menace that suggests the many sedimentary layers of fury and grief underneath; he's less some sneering Iron Curtain meathead á la Rocky villains of yore than a lost soul.
  18. Wicked
    For now, like Denis Villeneuve’s first Dune, this Wicked manages to end on a note of “to be continued” while still feeling like a complete story. If only its imagery had a little more magic!
  19. The Biggest Little Farm
    As the story unfolds over nearly a decade, Biggest becomes something even more impactful: a thoughtful and often profoundly moving portrait of the remarkable work involved in producing mindful food — and an eloquent reminder that so much of what we take for granted on our plates is, in its own everyday way, a miracle.
  20. Pillow Talk
    Nominated for five Oscars, Pillow Talk led to two more Day/Hudson collaborations, but this is by far the best.
  21. Les Destinées
    Pictorial but oddly muffled three-hour saga of romance and capitalism, not necessarily in that order.
  22. 1971
    Now, in Johanna Hamilton’s fiery truth-to-power documentary, those gray-haired agitators finally step out of the shadows to explain what they did and why they did it (with the help of some slightly hokey dramatic reenactments). Their message—namely, Who will watch the watchmen? — remains as important today as it was 44 years ago.
    • 73 Metascore
    • 75 Critic Score
    A Most Wanted Man
    Crackles with a jigsaw-puzzle intelligence and features a superbly subtle lead performance from the late Philip Seymour Hoffman, who single-handedly gooses the post-9/11 procedural through some of its slower patches.
  24. Spaceship Earth
    It's a fascinating story, this clash of 1960s idealism with the cold realities of modern science, though not one that director Matt Wolf (Wild Combination: A Story of Arthur Russell) is fully able to bite off and chew in Spaceship Earth, his fitfully enthralling but frustratingly incomplete documentary.
  25. Arbitrage
    The film doesn't turn its issues into a glorified essay, but it does use them to give the audience a vital emotional workout.
  26. Somersault
    The character can be a dolt, but Cornish is a marvel, exuding a reckless hunger and prowling with a sexuality of potent directness.
  27. Blue Beard
    Catherine Breillat, the French director of "Fat Girl", blends victim feminism with the threat of slasher violence in this arid ''deconstruction'' of Bluebeard, the wife killer of legend.
  28. The Princess and the Frog
    What matters is that Tiana triumphs as both a girl and a frog, that dreams are fulfilled, wrongs are righted, love prevails, and music unites not only a princess and a frog but also kids and grown-ups.
  29. Crossing the Bridge: The Sound of Istanbul
    As filmmaking, the docu is only travel-diary so-so. But the chance to experience the machine-gun rhymes of ''the Turkish Eminem'' - a young man called Ceza - is priceless.
    • 73 Metascore
    • 67 Reviewed by
      Ty Burr
    El mariachi
    Rodriguez makes the same mistake as other first-time auteurs: The world of this movie exists only in relation to other movies, particularly the Sergio Leone-Clint Eastwood spaghetti Westerns of the early '60s.
  31. The World to Come
    The immersive look of the film, with its strikingly unadorned landscapes and dim-lit interiors, casts a spell, and Waterston (the Fantastic Beasts franchise) and Kirby (The Crown, Pieces of Woman), bring both urgency and fragility to their constrained characters — two lost souls aligned and finding love in a hopeless place.
  32. The Brothers McMullen
    The romantic troubles of three Irish-Catholic brothers on Long Island don't amount to a hill of beans in this crazy world.
  33. ABC Africa
    It's not enough for the film to show us a child's corpse wrapped in cardboard; we've got to step back to see Kiarostami himself shooting the sad sight, so that it becomes a Godardian ironic statement.
  34. The Killing of a Sacred Deer
    Farrell delivers his lines with the same replicant monotone he used in The Lobster. And Kidman, the only cast member who expresses recognizably human emotions, extends her recent hot streak. But even she’s not enough to give this head-scratcher any real life.
  35. Wind River
    For all its well-worn outlines, the narrative exerts its own fierce, clenched-jaw grip: a cautionary campfire tale that reminds us it’s not merely the end that matters, it’s the style and skill of the telling.
  36. Black Cat, White Cat
    A warm embrace of tradition and boisterous, ethnographically rich local culture.
  37. Spider-Man
    A canny franchise escapade; it gets the job done. But it also leaves you hungry for something more, and I don't necessarily mean the next episode.
  38. John Wick: Chapter 3 - Parabellum
    I don’t mean to give the impression that John Wick 3 is anything grander than a gorgeously choreographed, gratuitously violent action movie. But as gorgeously choreographed, gratuitously violent action movies go, it’s high art.
  39. The Raid: Redemption
    I do wish that Evans were a better storyteller. When he isn't turning mad-dog violence into visual rock & roll, The Raid shreds narrative coherence to ribbons.
    • 73 Metascore
    • 50 Critic Score
    The Great Mouse Detective
    The Great Mouse Detective‘s few tunes are unmemorable and all the action (aside from the inventive chase sequences) is snooze-worthy. Only the incomparable Vincent Price (as Ratigan) is worth the price.
    • Entertainment Weekly
  41. When the Road Bends: Tales of a Gypsy Caravan
    An irresistibly vibrant concert-tour documentary.
  42. Sunset Song
    The film takes a false turn in its final act, but there is a certain melancholy enchantment in Davies’ golden-hued countryside. When a crowd sings “Auld Lang Syne” at a wedding reception, he makes you feel the tender warmth of a hearth fire alighted in the world.
  43. The Memory of a Killer
    A lot of thrillers have asked us to identify with assassins -- but I'd be hard-pressed to name one that makes a hitman as sympathetic, if not sentimental, as The Memory of a Killer.
  44. Transpecos
    Transpecos is a lean-and-mean atmospheric thriller that starts off tautly but ultimately slackens as it goes along.
  45. Supernova
    It's the combined incandescence of the stars at the center of the screen, not the ones meant to be gazed at through telescopes, that carries the movie; its best and truest source of light.
  46. Meet the Parents
    It's a bouncy, loose limbed, ''families do the darnedest things'' sitcom that elicits ungrudging laughs.
  47. Beyond the Lights
    Both Mbatha-Raw and Parker are appealing, expressive actors, and writer-director Gina Prince-Bythewood (Love & Basketball) lets them breathe, filling in the boilerplate bones of the story with smartly nuanced commentary.
  48. The Matrix
    The real soullessness here is built into the production, a polished adaptation of Hong Kong-style filmmaking that, with its cast of depressive characters, allows for little Hong Kong-style joy.
  49. The Impossible
    It's agony, in a rewarding way, to squirm and cringe and groan through an ordeal so realistically re-created.
  50. After the Life
    Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  51. I'm Not Scared
    With a taste for dark lyricism, the director delicately emphasizes the contrast between surface innocence and subterranean danger, and between grown-up secrets and boyhood bravery.
  52. Super Size Me
    A deliciously amusing socio-culinary prank.
  53. Heading South
    A pleasurably unsettling, sunbaked tale of sex and politics set in late-1970s Haiti.
    • 73 Metascore
    • 50 Critic Score
    Exiled
    One of those wearisome Hong Kong action movies where characters engage in Mexican standoffs not so much to ratchet up excitement or generate tension but rather to look cool for as long as possible.
    • 73 Metascore
    • 91 Critic Score
    High Art
    Who knew that Brat Packer Sheedy would shine as a heroin-addicted photographer who had too much fame too early?
  56. The Daytrippers
    The Daytrippers has some of the wacky dysfunctional chic that made David O. Russell’s Flirting With Disaster such a grating experience, but writer-director Greg Mottola has a lighter, warmer touch; his characters don’t have to act like pigs in order to prove they’re human.
  57. What's Eating Gilbert Grape
    This is one nowhere boy who commands your attention.
  58. Cold Mountain
    Minghella's adaptation of the 1997 Charles Frazier novel is emotionally detached and almost too studiously carpentered: a willed exercise in mythmaking.
  59. The Commitments
    As The Commitments goes on, you begin to weary of the one-note characters, who don’t so much converse as exchange arch put-downs.
  60. Train to Busan
    The result is first-class throughout.
  61. Me and Orson Welles
    Has so little fire that Welles himself would have wondered out loud what he was doing stuck in the middle of it.
  62. For the Bible Tells Me So
    The film's argument against overly literal Bible readings may not preach to anyone but the converted, and when For the Bible Tells Me So strays from scripture, its ardent plea for sexual freedom within modern Christian life grows a bit too late-night PBS generic.
  63. Rocket Science
    One of those terminally annoying, depressive-yet-coy Sundance faves in which the tale of a mopey teen misfit unfolds behind a hard candy shell of irony.
  64. American Sniper
    Clint Eastwood's American Sniper is a film that evokes complicated emotions. A month after seeing it, you might still be wrestling with whether it's powerful, profound, or propaganda.
  65. Working Girl
    The movie was a major success for Melanie Griffith, sure, but it was as the secretary's boss ... that Weaver combined all of her star qualities, pulled in laughs, and took home an Academy Award nomination for Best Supporting Actress.
  66. The Pirates! Band of Misfits
    You can almost smell the brine in the boat helmed by Pirate Captain (Hugh Grant) on his quest to win Pirate of the Year.
  67. The Forgiveness of Blood
    This gripping if tamped-down drama is steeped in ancient Albanian culture, where the real, tragic consequences of blood feuds can keep families trapped in their homes for generations.
  68. Declaration of War
    An adventurous song selection and stylish narrative techniques put a strangely romantic face on a harrowing story that's a parental nightmare.
  69. All Things Must Pass
    In this passionately nostalgic documentary, actor-turned-director Colin Hanks brings that era back to life, tracing the rise and fall of Russ Solomon’s retail music chain, which first opened its doors in Sacramento in 1960.
  70. L.I.E.
    You know you're in the hands of a born filmmaker when he floods a scene with danger and excitement and, at the same time, tempers it with something more delicate -- a languor of the everyday.
  71. Beyond the Mat
    Often has the rambling feeling of a home movie Blaustein made for his buddies.
  72. The Corporation
    The Corporation has better manners and a longer fuse than ''Fahrenheit 9/11.'' But the acerbic, sardonically illuminating Canadian documentary shares with its American cousin a certain bleak leftist glee in pursuit of its cause.
  73. Space Cowboys
    Poorly engineered: lurchingly paced, the dramatic conflicts duct taped together.
  74. Spider-Man: Homecoming
    A brightly contemporary retelling that is not so much an origin story as a coming of age: The On-His-Way-to-Amazing Spider-Boy.
  75. The Grandmaster
    Tony Leung plays Ip Man with his old-movie charisma and reserve, but the film, despite a few splendid fights, is a biohistorical muddle that never finds its center. Maybe that's because — big mistake! — it never gets to Bruce Lee.
  76. The Scandal
    Les Liaisons Dangereuses is such an elaborate and satisfying structure of deceit and salaciousness that every attempt I have seen to adapt it on film -- "Dangerous Liaisons," "Cruel Intentions," even the trashy 1959 Roger Vadim version -- has resulted in an entertainment of agreeable nasty elegance. Until now.
  77. Gran Torino
    A movie at once understated and radical, deceptively unremarkable in presentation and ballsy in its earnestness. Don't let the star's overly familiar squint fool you: This is subtle, perceptive stuff.
  78. The Killer
    Fincher is adept at excoriating the darkness of the human soul, but he's missed his mark with a character so blindly determined to prove he doesn't have one.
  79. Results
    Even by Bujalski’s shaggy standards, Results never adds up to much. Instead it just sort of sputters out and settles for a predictable rom-com ending. Conventional doesn’t suit him.
  80. Cars
    A work of American art as classic as it is modern. Note to tourists: Leave before the very end of the credits and you'll miss some of the best and funniest roadside sights.
  81. Erin Brockovich
    Roberts, in her most forceful dramatic performance, allows us to take in every moment through fresh, impassioned eyes.
  82. Zombieland
    At the bone, Zombieland is a polished, very funny road picture shaped by wisenheimer cable-TV sensibilities and starring four likable actors, each with an influential following.
  83. Red Satin
    Undoubtedly downplays the seamier, less attractive experiences of Arab women and men in Tunisian cabaret culture, and plays up the fairy-tale charm of the universal ''Flashdance'' formula in an unusual setting.
  84. Alias Betty
    A nifty, entwined, ultimately gripping adaptation of British crime writer Ruth Rendell's novel ''The Tree of Hands'' by French director Claude Miller.
  85. Ferrari
    The film does not valorize Ferrari, but it doesn’t complicate him either. And while its racing sequences are exhilarating, it should have spent more time looking under the hood.
  86. Antz
    Sophisticated, funny, and joyously subversive animated bug epic.
  87. The Lookout
    A thriller that wheezes along on bits and pieces of ''character.''
  88. News of the World
    The movie offers few surprises and even less alacrity; and yet there's a cumulative weight to World that feels, if hardly new, still worth sitting through.
  89. The Hangover
    Overall it's more amusing than hilarious.
  90. The Square
    Only half of these setups go anywhere very interesting. The rest just feel like button-pushing stunts that, like so much of the merry-prankster conceptual art Christian champions, zero in on your intellect rather than your gut. Or, better yet, your heart
  91. The Club
    The result is expectedly harrowing and heartbreaking, making for a difficult watch that will reward those with saintly patience.
  92. The Girl Cut in Two
    Sagnier is yummy.
    • 73 Metascore
    • 83 Critic Score
    Slam
    Directed and cowritten by Marc Levin with an intentionally untidy, restless, handheld style that owes a lot to his background as a documentary filmmaker, Slam effectively gets at the deadly, no-way-out despair that can squeeze a man as he realizes he’s become a numbered nobody in the huge, imperfect justice system. Levin’s best idea, though, is to counterbalance that hopelessness with freeing blasts of verse, performed with such drama and passion that audiences may want to break into applause.
  94. Battle of the Sexes
    The symbolic power of what happened there — one small step, one giant leap for womankind — is still the movie’s truest ace.
  95. Mission: Impossible - Ghost Protocol
    Ghost Protocol brims with scenes that are exciting and amazing at the same time; they're brought off with such casual aplomb that they're funny, too.
  96. Cold in July
    Johnson ties some of the film's looser ends together and makes you overlook the ones that stay untied. Between "Eastbound & Down," "Django Unchained", and now Cold in July, Johnson has a nice little streak going of turning seemingly disposable characters into indelible scene-stealing rascals.
  97. Layer Cake
    Fast, convulsive, and densely exciting new British gangster thriller.
  98. The Company
    The key to The Company is the quiet, focused rapture of Neve Campbell, who formally trained in ballet and performed all of her on-screen dances. The tranquil delight she takes in her body becomes its own eloquent form of acting.
  99. The Widow of Saint-Pierre
    The subtle selectivity of Leconte's eye, how he moves with great control from gesture to gesture, is matched by the disciplined intensity of the performances.
  100. Ray
    As a musical biography, Ray is driven by the primal excitement of rock-and-soul at the moment of its discovery.
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