For 7,797 reviews, this publication has graded:
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68% higher than the average critic
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2% same as the average critic
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30% lower than the average critic
On average, this publication grades 2.1 points higher than other critics.
(0-100 point scale)
Average Movie review score: 67
| Highest review score: | 13th | |
|---|---|---|
| Lowest review score: | Wide Awake |
Score distribution:
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Positive: 4,958 out of 7797
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Mixed: 2,079 out of 7797
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Negative: 760 out of 7797
7797
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Owen Gleiberman
The Truth About Cats & Dogs is very funny around the edges... but as the characters begin to hang out together, forming a platonic menage a trois, the mistaken-identity ruse never escalates into true screwball lunacy.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
A rousingly square romantic epic spiced with dashes of sex and bloodlust; it's "Robin Hood" meets "The Last of the Mohicans" meets "Death Wish".- Entertainment Weekly
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Lisa Schwarzbaum
Almodovar is positively mature, adapting a novel by Ruth Rendell so deftly that the plot now also describes the invigorating and sometimes disorienting effects of democracy after long years of repression under the Franco regime.- Entertainment Weekly
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Lisa Schwarzbaum
The generosity and gorgeousness with which Aussie writer-director Stephan Elliott (and costume designers Lizzy Gardiner and Tim Chappel) turn this most unlikely road picture into something arresting - if a tad sentimental - in its naive vision of a perfectly tolerant world.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
The film knows how absurd this is, yet its triumph is that, by the end, we're actually rooting for Mary to see the library as her salvation.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
The movie, like the book, is a work of opportunistic gamesmanship, a luridly farfetched conspiracy thriller masquerading as an inquiry into the zeitgeist. You can't take Disclosure very seriously, yet the film has been made with cleverness and skill, and with a keen eye for the latest styles in corporate paranoia and ruthlessness.- Entertainment Weekly
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Owen Gleiberman
The story, at heart, is earnest and humorless teen romantic glop, but its feelings aren't fake, and the movie is compulsively watchable; it has a passionflower intensity.- Entertainment Weekly
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Lisa Schwarzbaum
As engrossing and logic-resistant as the state of dreaming it seeks to replicate, Christopher Nolan's audacious new creation demands further study to fully absorb the multiple, simultaneous stories Nolan finagles into one narrative experience.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
The whole movie is a diversionary activity. It's trash so compacted it glows.- Entertainment Weekly
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Lisa Schwarzbaum
Jeunet maintains a firm control of his dreamscape creation, drawing on influences as varied as "Toy Story," "Children of Paradise," and TV's "Mission: Impossible."- Entertainment Weekly
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Owen Gleiberman
An enjoyably supercharged and ultraviolent teen-rebel comic-book fantasy that might be described -- in spirit, at least -- as reality-based.- Entertainment Weekly
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Reviewed by
Ty Burr
Maquiling has built and sustained a mood of lovely comic aplomb. Like one of its hero's daydreams, the film evaporates on contact and leaves a serene glow.- Entertainment Weekly
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Lisa Schwarzbaum
Let loose in a plot that's surprisingly modern about sex and relationships, Morton gives Eva's torn longings an immediacy that transcends a lot of damp, 1950s rusticated preciousness.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
Will take you places you haven't been, and also places you have.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
Wiseman reveals the victims of domestic abuse in all of their pity and terror.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
The fascination of Confessions of a Dangerous Mind, the sharp, funny, unreasonably compelling adaptation of Barris' autobiography, is the way it soft-shoes past our skepticism.- Entertainment Weekly
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Owen Gleiberman
People Say I'm Crazy doesn't defuse, or romanticize, the trauma of mental illness. It just humanizes it.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
Unlike the first two Decline films, this one is only tangentially concerned with music.- Entertainment Weekly
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Lisa Schwarzbaum
Luc Jacquet's exquisitely shot eye-of-God study of a year in the lives of these distinctive birds is a nature film built with a feel for the epic and a love of operatic narrative.- Entertainment Weekly
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Lisa Schwarzbaum
The soft-spoken, impressionistic documentary (with a hypnotic score built from the sounds of construction) climaxes with a six-minute helicopter-cam view of the colossal structure to which these somebodies have been dedicating their sweat, and sometimes their very lives.- Entertainment Weekly
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Lisa Schwarzbaum
The grand old filmmaker frames each scene like a fine painting. And fake snow falls with happy artificiality between rueful vignettes.- Entertainment Weekly
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Owen Gleiberman
Steel City could have used more rhythmic drive, but if Jun keeps weaving together characters this compelling, he could be a major film artist in the making.- Entertainment Weekly
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Owen Gleiberman
Joshua does grow a bit repetitious (it lacks the cathartic climaxes of a horror film), yet it has cool and savvy fun with your fears.- Entertainment Weekly
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Owen Gleiberman
There's an unconvincing last-act twist, but this is the movie "Little Children" wanted to be.- Entertainment Weekly
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Lisa Schwarzbaum
The words belong to Mr. Shakespeare. All else in this Macbeth is the pleasurably fevered invention of brash Australian director Geoffrey Wright.- Entertainment Weekly
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- Entertainment Weekly
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Reviewed by
Lisa Schwarzbaum
If all this sounds awfully classroom-bound, it isn't -- far from it. Each man's story as he tells it is riveting, truly stranger than fiction, and awesome, too, in the way of unfathomable humans.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
A highbrow chick flick that made me feel older, in a good way.- Entertainment Weekly
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Reviewed by
Owen Gleiberman
Can a movie be gripping and repellent at the same time? In Funny Games, a mockingly sadistic and terrifying watch-the-middle-class-writhe-like-stuck-pigs thriller, the director Michael Haneke puts his characters in a vise, and the audience too.- Entertainment Weekly
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Reviewed by
Lisa Schwarzbaum
Chiara Mastroianni charms here just as her maman, Catherine Deneuve, did in Demy's 1964 classic.- Entertainment Weekly
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