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For 1,505 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 4.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Before Night Falls
Lowest review score: 0 Movie 43
Score distribution:
  1. Positive: 776 out of 1505
  2. Mixed: 461 out of 1505
  3. Negative: 268 out of 1505
1505 movie reviews
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  1. Mission: Impossible - Ghost Protocol
    The first live-action endeavor from director Brad Bird (The Incredibles, The Iron Giant), Mission: Impossible – Ghost Protocol is filled with the verve and clarity of his animated action sequences while lending just enough gravity and remote plausibility to the stunts and gadgetry to keep it from becoming a glorified cartoon in and of itself.
  2. Cooties
    Cooties, while suitably gross and buoyed by game performances, doesn’t exploit its concept nearly as well as it should.
  3. Bluebird
    Bluebird is undoubtedly a remarkable achievement, especially for a first-time filmmaker.
  4. Kumiko, The Treasure Hunter
    The genius of Kikuchi’s performance is that – by the end – her slow descent into mania humanizes Kumiko precisely when it would have been so easy to reduce her into caricature.
  5. Gone Girl
    Gone Girl is a rare bird: a tricky, weird mystery that benefits from people knowing its twist from the outset.
  6. The Boxtrolls
    The Boxtrolls is a swing-and-miss for Laika; when you move forward with revolutionary techniques while standing still in terms of your themes, stories and settings, no amount of technical trickery or animation genius can bring the boring to vivid life.
  7. Two Night Stand
    Both Tipton and Teller are better than this material.
  8. Jimi: All Is by My Side
    A closer, richer examination of a slice of time as specific as it is short.
  9. Hellaware
    It is a rather sly affair, slipping in some genuine food for thought amongst its snickering.
  10. A Walk Among the Tombstones
    Frank’s film is much more of a noir outing than a straight action feature, and Neeson slips right into the tone and feel of the hard-boiled detective offering. Neeson may have been treated to a big career resurgence thanks to his knack for big action, but he’s great as Matt Scudder, and the darker charms of the film suit him wonderfully.
  11. The Maze Runner
    For a genre that so often sacrifices character development and smaller narrative developments, the majority of The Maze Runner feels quite refreshing and worth the navigation.
  12. Tusk
    Tusk is revolting, but that’s entirely the point of Kevin Smith’s admirably imaginative and utterly disgusting latest feature, a twisted fairy tale that trades on gross-out gags and visual shockers instead of actual story.
  13. The Guest
    A truly entertaining and dizzyingly wild horror film.
  14. Rosewater
    The humor and drama don’t neutralize each other; in what’s perhaps Stewart’s most successful achievement as a director, the changes in tone work in a harmony, not at cross-purposes.
  15. The Judge
    “Expendables 3” has fewer nauseating clichés than The Judge.
  16. Nightcrawler
    A fantastic, sleek and fun satire.
  17. This Is Where I Leave You
    Tina Fey is in the film, for heaven’s sake, and I love her to pieces, but by now we know to expect something humdrum when she’s on a movie screen.
  18. The Identical
    Embarrassing and weird.
  19. Wild
    Heartfelt and haunting, sympathetic while still aware of the limits of sympathy, Wild incorporates beautiful direction, smart writing and brave acting.
  20. Birdman or (The Unexpected Virtue of Ignorance)
    This is not a film in need of creativity, passion or energy; what it needed was restraint, consideration and direction. This is not saying that Birdman is awful, or a debacle; there are superb scenes here, as well as excellent performance moments, but they get drowned out in the flood of Iñárritu’s ambition, energy and fantasies.
  21. The Imitation Game
    Strong, stirring, triumphant and tragic, The Imitation Game may be about a man who changed the world, but it’s also about the world that destroyed a man.
    • 39 Metascore
    • 72 Critic Score
    As Above, So Below
    The film’s finely tuned middle act, a fast-paced and quick-witted journey into (possible) madness, eventually gives way to an unsettlingly over the top final section that relies far too much on larger setpieces and supposed “big scares” that are never as good as the smaller, weirder stuff.
  23. To Be Takei
    This portrait of the actor winds up being a parable about all of us.
  24. The November Man
    A nicely-made action-thriller, one with analog car chases and non-digital explosions, like a long tall glass of cold water in a world that mostly offers you Bud Light or Crystal Pepsi.
    • 84 Metascore
    • 95 Critic Score
    Stray Dogs
    Stray Dogs pushes Tsai’s cinema of laissez-faire long takes, performative observation and pangs of regret and loss to their extreme.
    • 77 Metascore
    • 69 Critic Score
    Wetlands
    Juri’s performance makes it impossible to divert your eyes from the screen, no matter how much you might want to, and a brave film that eventually succumbs to convention is still braver than most.
  27. Sin City: A Dame To Kill For
    It has a nose for what's cool, but is completely inept at execution.
    • 46 Metascore
    • 39 Critic Score
    If I Stay
    Even the love story doesn’t work, because Moretz and Blackley exhibit zero romantic chemistry, and it’s never exactly clear why the pair love each other so much.
  29. Swim Little Fish Swim
    What ultimately holds the film back, I believe, is its tendency to err too far on the side of that sweetness — it indulges too often in the hallmarks of the mediocre indie, the stuff a press release might call quirk, to level its more substantial points with real seriousness.
  30. The Expendables 3
    Cripplingly lifeless.
  31. Let's Be Cops
    The film is confusingly and sloppily put together, edited down to the point that the few genuine jokes of Let’s Be Cops are given precious little time to breathe, before zipping into the next sequence of increasingly irrational events.
  32. The Hundred-Foot Journey
    An amiable cast and a satisfying enough story make The Hundred-Foot Journey stick to your ribs, even if it’s hard to swallow early on.
  33. About Alex
    The only thing moviegoers will hate more than the phony, faux-felt conversations of About Alex at its worst is the unfulfilled promise its high points suggest when it’s at its best.
  34. Teenage Mutant Ninja Turtles
    Teenage Mutant Ninja Turtles isn’t a movie; it’s a brand re-launch that’s going to satisfy stockholders far more than it’s going to entertain the people who paid to watch it.
  35. Get On Up
    Taylor’s film so egregiously picks and chooses from Brown’s life that the result is a holey and unsatisfying document that fails to give due respect to much of the singer’s life (especially the more unsavory stuff).
  36. Guardians of the Galaxy
    [A] blend of classic sci-fi fare and current pop-culture irony is what rockets “Guardians” into the stratosphere.
  37. And So It Goes
    A nice enough reminder that as time goes forward, we have to as well.
  38. Lucy
    Even Besson’s most bold choices – and this is a film that goes weird, and then just keeps getting weirder – don’t seem so revolutionary when packaged in such well-tread trappings and increasingly shoddy writing.
  39. Magic in the Moonlight
    This picture isn’t as showy or obvious as one of his (many) masterpieces, but it is quite good and deserves your time and respect.
  40. The Purge: Anarchy
    The Purge: Anarchy expands on its predecessor, but the excellent news is that the sequel isn’t just bigger and badder and bleaker; it’s also better, smarter, stranger and tougher.
  41. Mood Indigo
    Despite being clever and crafty it can’t break out of the curiosity shop. It’s the finest diorama in there, but something to admire, linger over then move past.
  42. Horns
    [Aja] has outfitted Horns with enough talent that the film is rather easy to admire aesthetically. The problems are more foundational, even conceptual—and they are thus harder to reconcile.
  43. Dawn of the Planet of the Apes
    Serkis’ Caesar gets more than his fair share of rip-snortin’ badass moments. He’s arguably the finest leader of men we’ve seen on screen since “Lincoln.”
  44. Earth to Echo
    It’s not exceedingly original, it is well-made and a solid entry into the subgenre.
  45. Deliver Us From Evil
    For all its darkness, [it] never really scares up anything new.
  46. Tammy
    Basically a drama-in-disguise. Unfortunately, it’s a formulaic and extremely uneven one, albeit with a number of sympathetic performances.
  47. Transformers: Age Of Extinction
    Either I’m getting dumber or the “Transformers” sequels are getting more coherent.
  48. Life After Beth
    Baena takes a well-tread road, leaving behind the guts of his promising story and never capitalizing on the charms of either romance or his leading lady.
  49. Nothing Bad Can Happen
    his bleak and somewhat sadistic picture is the type of movie that unfolds like a slow car wreck. You know something bad is going to happen, you just aren’t sure what, or how, and when it eventually happens it is repulsive and yet you still can’t turn away.
  50. Snowpiercer
    Snowpiercer is bold and brutal and committed, but no setting, no matter how inventive or beautiful, can compensate for storytelling that strains plausibility even as it batters your senses and sensibilities.
  51. Think Like a Man Too
    It’s all, quite strangely, boring.
  52. Jersey Boys
    Eastwood, who once upon a time was a flavorful director, is working in movie-of-the-week mode here. Cheesy, direct, bland.
  53. 22 Jump Street
    22 Jump Street is a success, as there is a little good ol’ fashioned “heart” beneath its post-modern veneer.
  54. The Fault in Our Stars
    The film has enough charm and humor to keep it appealing to a wide audience, and dumbing things down doesn’t feel particularly smart or canny, and proves to be a minor distraction to an otherwise majorly entertaining feature.
  55. Edge of Tomorrow
    A mix of forward-looking sci-fi, classic themes, deft plotting and superb writing and direction, Edge of Tomorrow may be the pure-pleasure blockbuster to beat this Summer.
  56. A Million Ways to Die in the West
    A relentlessly unfunny, charmless send-up of better films with better ideas.
  57. Blended
    Sound nonsensical? It is.
  58. X-Men: Days of Future Past
    Even when it seems mercenary and muddled, X-Men Days of Future Past is enjoyable and well-made and actually about character, a necessary shot of adrenaline born of both inspiration and desperation for a franchise that desperately needed one.
  59. The Rover
    A dark, dreary and dull “Mad Max in Neutral” from director David Michôd (“Animal Kingdom”) that tries to pass off its blunt narrative and repetitiveness as some sort of style.
  60. Saint Laurent
    Bonello's decision to show rather than tell keeps the audience on its toes.
  61. The Homesman
    The Homesman certainly wins a few points for trying a different type of Western. There are no greedy land barons and no gunslingers drawin’ at high noon. But being unique isn’t enough if the story remains uneven and the characters don’t feel real.
  62. Maps to the Stars
    Cronenberg’s map doesn’t lead to a satisfying destination in a typical story sense, but it is a remarkable quest. For a movie that has so many problems, it is one of the more watchable ones.
  63. Foxcatcher
    Nothing short of fascinating.
  64. Lost River
    Ryan Gosling wanted to make an art film and, despite some dull patches, pretty much succeeded.
  65. How to Train Your Dragon 2
    What's unfortunate is that Toothless is starring in a toothless story.
  66. Million Dollar Arm
    This is a film about a journey, and while the destination – baseball’s major leagues – is continuously dangled in front of its protagonists, it’s getting there that counts. Oh, and also how fast you can throw a ball. That counts, too.
  67. Calvary
    The film has much more talking than acting, so McDonagh is wise to give it all the zest he can muster... But McDonagh, for all his agility as a writer, stumbles in fleshing out the story.
  68. Moms' Night Out
    Plainly unfunny.
  69. Godzilla
    The best thing about this new Godzilla is that it spares no expense or effort to deliver big, burly IMAX-ified action... The worst thing about this new Godzilla is how that’s the best thing about it.
  70. Neighbors
    You’ll laugh if you’re young, you’ll laugh if you’re old.
  71. Walk of Shame
    Far-fetched, absurd and hopelessly schticky, but if you can get past its boring initial set-up, it’s actually quite funny.
  72. The Amazing Spider-Man 2
    An essential entry in the cinematic canon of Spider-Man, complete with new villains, new questions, and new heartaches.
  73. The One I Love
    The film is brisk, funny, smart, and artful, a strong pairing of high concept and relatable storylines.
  74. Ping Pong Summer
    We all have childhoods to remember. Art needs to do more than just remind us.
  75. The Quiet Ones
    Worth making a little noise about if you’re a horror fan.
  76. The Other Woman
    The Other Woman eschews plenty of standard genre expectations to make an unexpectedly friendship-friendly film.
    • 17 Metascore
    • 10 Critic Score
    A Haunted House 2
    In the running for worst film of the year... and it's only April.
  78. Transcendence
    Unquestionably the work of both a newbie director and a green screenwriter.
    • 59 Metascore
    • 50 Critic Score
    The Railway Man
    Suffers from a script that places dramatic emphasis in all the wrong places.
  80. Hateship Loveship
    Hateship, Loveship suffers due to its dedication to an oddly unsettling type of earnestness.
  81. Oculus
    It’s clean, lean and smart.
    • 49 Metascore
    • 50 Critic Score
    Rio 2
    A strange combination of mental exhaustion and boredom.
  83. Draft Day
    While Draft Day is a very agreeable and predictable movie, it is also very timely.
  84. Nymphomaniac: Volume II
    It's darker, stranger and pushes more buttons.
  85. Captain America: The Winter Soldier
    Captain America: The Winter Soldier neatly and entertainingly puts into motion some big changes in the Marvel universe, while still sticking to its own charms — no easy feat, but one fit for a hero.
  86. Afflicted
    Afflicted is an exciting, adept and smartly skillful debut horror film.
  87. Tom at the Farm
    If Tom at the Farm is occasionally impenetrable as a drama, it’s seldom less than gripping as an exercise in suspense, especially when Dolan’s precise sense of timing revitalizes otherwise familiar moments.
  88. Boyhood
    Like the best of fiction, it conveys greater truth about coming to terms with the world at large, and regardless of whether each individual scene is ultimately justified in its inclusion, the cumulative impact of seeing something resembling a life unfold over a mere two hours and forty minutes is overwhelming.
  89. Noah
    The execution of that script – is so clumsy and over-written that nothing in it sticks. There’s a symphony of visuals here, and big strange ideas, but when it comes to the actual characters, we get automatons sleepwalking through clichés.
  90. Sabotage
    Does this mean that Sabotage is a rich, morally complex story about the gray zone between good and evil? Hell, no. It just means it is a bungle.
  91. Manakamana
    It is amazing, given the modesty of its scope and means, how much Manakamana is able to achieve.
  92. Hide Your Smiling Faces
    The landscape is a definitive presence throughout the film, which has almost no music and very little dialogue. The film is short (approximately 80 minutes) and maintains a good sense of dread throughout.
  93. Divergent
    Over-plotty, convoluted, full of unanswered questions and unquestioned assumptions — is a big part of the problem here, but director Neil Burger (“Limitless”) pulls off a neat trick here, in that Divergent is a pretty diverting piece of moviemaking pulled from a not-especially-good story.
    • 28 Metascore
    • 40 Critic Score
    Maladies
    Maladies is at least watchable, though just barely.
  95. Muppets Most Wanted
    With Muppets Most Wanted, the vaudevillian pandaemonium is alive and well.
  96. Need For Speed
    A snoozy-but-diverting, lightly constipated B-movie.
  97. Nymphomaniac: Volume I
    Nymphomaniac Vol. 1 is the worst thing Lars Von Trier has ever associated himself with.
    • 62 Metascore
    • 70 Critic Score
    Veronica Mars
    The winks and nods to fans are deliciously satisfying.
  99. Chef
    If the Favreau-written “Swingers” concerned itself with the pursuit of meaningful romance and the Favreau-directed “Made” tackled the pursuit of a better living, then the slight if continually amusing Chef is clearly his paean to rekindling one’s passions, whether as an artist, a husband or a father.
  100. The Strange Color of Your Body's Tears
    Lengthy passages are unrelated to any discernible narrative, and seem to exist in that interzone your mind travels through just before it goes to sleep.
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