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For 1,756 reviews, this publication has graded:
  • 68% higher than the average critic
  • 4% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The Dark Knight
Lowest review score: 19 Leatherface
Score distribution:
  1. Positive: 1,092 out of 1756
  2. Mixed: 590 out of 1756
  3. Negative: 74 out of 1756
1756 movie reviews
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  1. Wicked: For Good
    Wicked: For Good brings Jon M. Chu’s movie-musical duology to a climactic conclusion that’s dark in every sense of the word. With harrowing action scenes, heart-wrenching musical numbers, and excessively dimly-lit scenery, this sequel compounds all of the problems of the first movie while introducing some wholly new ones of its own. Dual leads Cynthia Erivo and Ariana Grande are as luminous as ever, electric whenever they’re sharing the screen together, but there’s a lot of movie to slog through to get there.
    • 51 Metascore
    • 60 Critic Score
    The Lord of the Rings
    The "live action" footage simply looks "blah" when interacting with the animated characters. It breaks apart the look of the movie, and really hurts it.
  3. Hot Frosty
    Frothy, self-aware, and straining for laughs, Hot Frosty is a cup of whipped cream with no hot chocolate.
  4. Heart Eyes
    From the sincerity of the lead performances to the cartoonish gore offered by Werewolves Within director Josh Rubenn. There are much worse ways to spend Valentine’s Day than a genre cocktail for saps and gorehounds alike.
  5. The Alto Knights
    It can’t decide whether it wants to tell the real-life story of respected mob boss Frank Costello and his comrade-turned-scheming-enemy Vito Genovese, or if it wants to skewer the entire genre of films they helped inspire. However, with Robert De Niro in both leading roles, there’s always something interesting to watch, even if it’s buried by mountains of repetitive dialogue.
    • 42 Metascore
    • 60 Critic Score
    Opus
    Opus isn't a tremendously effective horror film, often feeling like a number of A24 horror movies rolled into one. Those looking for scares will be disappointed. The first film from writer director Mark Anthony Green is, however, interesting enough when it has things to say about pop stars and the people who write about them – not that it makes the movie any more chilling.
  7. Smurfs
    A movie that’ll just about keep young viewers’ attention, Smurfs is part Rihanna jukebox musical, and part flimsy attempt to give the little blue critters an identity that’ll stick.
  8. Spinal Tap II: The End Continues
    While it picks up threads from the original, like the mysterious curse of their dying drummers or stage props misbehaving, nothing gets anywhere close to the original.
  9. Clown in a Cornfield
    Though it starts out as a promising slasher throwback, Clown in a Cornfield struggles with a jokey tone and a political message that lacks teeth.
  10. Fountain of Youth
    Fountain of Youth is a robust showcase of Guy Ritchie’s eye for action, but it falls well short of capturing the magic of the quintessential treasure-hunting movies it’s so clearly trying to replicate.
  11. Abraham's Boys: A Dracula Story
    Abraham’s Boys has some interesting ideas when it comes to a Van Helsing-based Dracula spinoff. Unfortunately, its weak visuals and lack of atmosphere stop it from fully delivering.
    • 66 Metascore
    • 60 Critic Score
    Roofman
    Roofman’s excellent performances are hampered by a middling script that’s executed with minimal visual flair or excitement.
  13. I Know What You Did Last Summer
    There’s a fun slasher buried beneath the too-faithful reboot plot of the new I Know What You Did Last Summer. Unfortunately, it’s overshadowed by too many callbacks to the first movie in the series and too little originality. The mix of new stars and returning favorites provides some urgency, but does little to give it an identity all its own.
  14. Heads of State
    Amazon’s Heads of State is a near-humorless buddy comedy film, saved by its compelling leads and elaborate action sequences.
  15. Now You See Me: Now You Don't
    Now You See Me: Now You Don’t serves as a reminder of how they manage to coast by just enough, providing a good time thanks to the notable talent and charm of their expanding cast and the inclusion of the magic trick element to provide a unique flair. It’s the epitome of “We’re just having fun here” entertainment, and while little of it resonates, it mostly gets the job done.
  16. Die My Love
    The film’s themes may be fundamental in their commentaries on parental gender disparity or qualities about motherhood so many refuse to publicly acknowledge, but they still land like a haymaker. You’ve gotta hand it to Ramsay; she’s a fearless visionary when rocking on all cylinders—which, frustratingly, Die My Love only dishes out in smaller servings.
  17. Ready or Not 2: Here I Come
    Ready or Not 2: Here I Come is an agreeable, if unnecessary sequel which, through its larger scale, proves that less is often more.
  18. Alma and the Wolf
    Alma & the Wolf is an amusingly off-kilter combo of monster movie and psychological thriller let down by a disappointing ending – but it’s a showcase for rising star Li Jun Li.
  19. A House of Dynamite
    A House of Dynamite has the acting and directing goods, but its weak resolve arrives late in the game.
  20. Demon Slayer -Kimetsu no Yaiba- The Movie: Infinity Castle
    Demon Slayer: Kimetsu no Yaiba Infinity Castle offers plenty of action and some emotional flashbacks, but it suffers from an overuse of flashbacks that undermine the story's pacing.
  21. V/H/S/Halloween
    V/H/S/Halloween is an enjoyable assortment of vicious holiday horror shorts that might take a step backward after last year’s fantastic V/H/S/Beyond, but it’s hardly a throwaway sequel.
  22. Swiped
    Swiped is constructed well-enough for the movie it’s trying to be, but its lack of ambition and nuance keep it from being its best self. It can still be a worthwhile enough watch for Lily James’ admirable performance as Whitney Wolfe, but the movie never affords its subject the same level of depth as what James tries to imbue her with.
  23. Hamlet
    Riz Ahmed makes for a vigorous lead in Aneil Karia’s contemporary British-Indian Hamlet, which loses its emotional clarity beneath an intriguing exterior. Its use of silence and intimacy grants it a fascinating texture, but the film never challenges or re-invigorates Shakespeare’s greatest work, ensuring that it ends up somewhere in the middle of a lengthy pile of adaptations.
  24. Crime 101
    Crime 101 has everything a heist thriller ought to have… but not much else.
  25. Scream 7
    Scream 7 packs in plenty of satisfying slasher action, and may even bring some lapsed fans back into the fold by focusing down the scope of that action after Scream 6, but the new ideas it does bring to the table are either too thin to fully explore or ill-advised enough to detract from the success the movie does find in playing the hits, the deep cuts, and the killer tracks.
  26. Dracula
    On the heels of several other Dracula-based films in very recent memory, Luc Besson’s take on the story doesn't do enough to set itself apart, despite its fair share of weird comedic moments.
  27. War Machine
    War Machine has just enough juice to prevent it from being a Snore Machine.
  28. Over Your Dead Body
    A tale of miserable spouses plotting each other’s demise, it doesn’t always work, but its action comedy stylings are enough to keep it entertaining even when it swerves into ugly excess or extraneous subplots.
  29. Pretty Lethal
    If you think ballerinas using their dance skills to fight and kill bad guys sounds fun, Pretty Lethal does deliver on its premise. However, it takes too long to get going, and is ultimately a somewhat amusing trifle instead of the more fun spectacle it could have been.
    • 37 Metascore
    • 59 Critic Score
    The Cloverfield Paradox
    The Cloverfield Paradox is a paradox in itself. Split between trying to be a standalone sci-fi space horror and a key linking point in the Cloverfield mythos, the film never truly succeeds at either.
  31. The Darkest Minds
    The Darkest Minds is a wholly rote YA sci-fi adventure that continues a genre that is pretty much dying out. Despite this, the film is capable and enjoyable and features a great lead actress in Amandla Stenberg.
  32. Goosebumps 2: Haunted Halloween
    The Halloween monster mash iconography is incredibly strong and the cast is excellent, but Goosebumps 2 is in far too much of a hurry – and perhaps too eager to be widely accessible – to be actually scary or wholly effective.
  33. Green Book
    Green Book lacks the depth it aspires to, and only works on a very superficial level. Viggo Mortensen and Mahershala Ali give exceptional performances but this message movie fumbles its message.
  34. The Star
    If you can get past the many bizarre inconsistencies, The Star is a relatively decent film for young Christian audiences. The writing, voice-acting and animation are unremarkable, but they get the job done, and the film’s heart seems to be in the right place.
    • 35 Metascore
    • 58 Critic Score
    Birth of the Dragon
    Birth of the Dragon is not the Bruce Lee biopic you’ve been waiting for, as strong performances and martial arts action by Philip Ng and Xia Yu are wasted on a movie that had too little faith in the real story.
  36. Mary Shelley
    Mary Shelley's fascinating life story is told to contain a few brief glimpses of modern insight, but ultimately weakens under its over-use of conventional, romantic storytelling tropes.
  37. Point Blank
    Point Blank's production bones are solid and the action itself is clear and capable, but the story is woefully past its expiration date and the attempt to tether it back to the types of "action movies we grew up with" falls flat.
  38. Leap!
    As heartwarming as the story in Leap! can sometimes be, and as strong as the relationship is between Félicie and Odette, her actions can make it difficult to cheer for her as wholeheartedly as the film intends.
  39. Gemini
    When is a murder mystery not about the murder or the mystery? When it's as beautiful-looking as Gemini.
  40. Hold the Dark
    Hold the Dark is a beautiful-looking bore.
  41. 6 Underground
    Underground is cartoonishly raucous explosion porn from mayhem maestro Michael Bay that feels like a film that was made over a decade ago and was just somehow recently unearthed by Netflix. It's a testament to star Ryan Reynolds and his seemingly effortless charisma because without him the movie would have been a snow-blind mess.
  42. Amityville: The Awakening
    Amityville: The Awakening has a good cast, and, if viewed by a group of rowdy friends late at night, may certainly do its due diligence in periodically startling you for 87 minutes, but never manages to transcend its genre in any meaningful way.
    • 34 Metascore
    • 55 Critic Score
    The Mummy
    There are moments where it reaches out for horror and produces something interesting and distinct from Hollywood’s other blockbusters, but those moments are buried beneath unremarkable and, by the end, tedious action sequences.
    • 48 Metascore
    • 55 Critic Score
    Tomb Raider
    Tomb Raider fails to develop interesting characters or motives but at least offers viewers some fun action.
  45. Mute
    Mute tries to tell a transformative sci-fi story but struggles to find its footing with a less than stellar hero.
  46. A Bad Moms Christmas
    The Bad Moms sequel suffers from an uneven script and the addition of too many new, superfluous characters.
  47. The Commuter
    Liam Neeson is back with The Commuter, though viewers may wind up wishing they bought a ticket to a different train.
  48. Rampage
    Rampage doesn’t really offer much of anything new as a giant monster movie, a video game adaptation, or a Dwayne Johnson vehicle, but it still checks all the boxes expected from it, offering one just enough entertainment value to not make you completely hate it.
  49. Glass
    There are hints of greatness, but Glass is tonally confused and will likely disappoint fans of Unbreakable and Split.
    • 51 Metascore
    • 55 Critic Score
    Peter Rabbit
    The relentlessly slapstick Peter Rabbit may please the kids, but the film never quite realizes its full potential.
  51. The Nun
    As a piece of the larger Conjuring universe puzzle, The Nun is a fun, if ineffectual history lesson that will provide fans with plenty of dots to connect. On its own merits, The Nun stumbles by not delivering any real terror or investment in its characters, instead resting on its strong visuals and atmosphere and, strangely, humor.
  52. The Kitchen
    The Kitchen has a good cast and strong premise, but it never quite finds its footing and falls into gangster cliches.
  53. Extremely Wicked, Shockingly Evil and Vile
    Extremely Wicked, Shockingly Evil and Vile has some interesting ideas about how little we know the people we love, and about the power of a celebrity cult status. But no matter how good Zac Efron’s performance as Ted Bundy is, this is the tamest way to explore such a complex and interesting story.
  54. Mercy Black
    While there are some creepy ideas in this surprise Netflix-Blumhouse offering, the quality of Mercy Black is strained.
  55. Miss Bala
    Miss Bala never quite delivers on its potential and lets down the woman at its center.
  56. War Machine
    After a while, rather than just being funny (in a dark way), it's questionable why one should sit through the whole thing.
  57. Thelma
    Trier manages to make a movie about passion that feels almost completely detached, right to the end. It’s an approach that gives Thelma, the movie, the appearance of portent without fully exploring the fascinating themes, characters or storylines that might actually have justified that self-serious tone.
  58. Action Point
    Action Point contains some crazy stunts and some funny-ish gross-out humor, but is ultimately a pale echo of the dark destruction Johnny Knoxville became famous for.
  59. Kin
    All the genre elements play like an afterthought, and that's frustrating because the rest of the movie isn't quite spry enough to stay interesting without action, adventure, or at least little more weirdness.
    • 32 Metascore
    • 50 Critic Score
    Night of the Living Dead 3D
    Everything about this "movie" is a joke. What really pisses us off is the fact that: a) Ben is now white (yes, white!); b) there are people doing drugs; and c) there's a sex scene! What in the hell? Not making things any better is a simply ridiculous ending that just about abandons all hope for the movie's success.
    • 51 Metascore
    • 50 Critic Score
    Jim Brown: All American
    Jim Brown: All American is visually impressive, but about halfway through the documentary it gets so defensive and excusive that it stalls. It's as if Lee is forming a defense case rather than exhibiting the man's life.
    • 34 Metascore
    • 50 Critic Score
    The Dark Tower
    The Dark Tower is a thoroughly average take on some truly incredible source material. While the fantastic leads do the best with what they’re given, it’s ultimately not enough to compensate for a lack of time spent building characters and their motivations in the script.
    • 28 Metascore
    • 50 Critic Score
    Survivor
    The film is particularly disappointing as McTeigue also directed V for Vendetta, a much sharper, much more intriguing, much more thought-provoking look at our post-9/11 world.
    • 40 Metascore
    • 50 Critic Score
    Pitch Perfect 3
    Pitch Perfect 3 tears up the rule book for the franchise but sadly all the rules in it are what made the original work so well and the second film work well enough.
  65. Patient Zero
    Patient Zero never realizes its potential.
  66. Snatched
    Snatched has its fair share of laughs, but the film’s attempts at sustaining a legitimate emotional underpinning throughout are unsuccessful, thanks to a lackluster turn from Schumer, and some tiresome writing all across the board.
  67. Fast X
    An underwhelming lead-up to the series finale, Fast X's only real redeeming quality is Jason Momoa's bonkers performance as the villain.
  68. Flatliners
    Flatliners had every opportunity to improve on the original, and it doesn’t take most of them. It falls flat as a horror movie but the cast is good enough, and the sci-fi concepts are interesting enough, to keep it from crashing completely.
  69. Downsizing
    It’s not very funny, it’s not very dramatic. There’s a spark of intelligence here, a valid critique of doomsday culture and escapism, but it’s the sort of message you can easily get off of a cocktail napkin.
    • 54 Metascore
    • 50 Critic Score
    The First Purge
    While trying to hit the basic markers that have come to define a Purge film, The First Purge comes up empty when mining real-life tragedies as the backdrop for a summer movie.
  71. Trolls World Tour
    It's for kids and it's cute. It's also an absolute eyesore, crassly overstuffed with retina-scorching color combinations and explosions of glitter. Frankly, it's disappointing that an animated movie with so much talent attached didn’t strive to be more than just "cute for kids." But hey, at least you can dance to it.
  72. Sherlock Gnomes
    Not as annoying as it looks, but hardly a stirring or imaginative entertainment, Sherlock Gnomes has a comfortable home right in the middle of the road.
    • 68 Metascore
    • 50 Critic Score
    Never Say Never Again
    Never Say Never Again never reaches the escapist thrills of vintage Connery and Moore; it cares too much about getting sued than it does about giving the actor a vehicle worth coming back to.
  74. Beneath the Planet of the Apes
    A workmanlike sequel, it lacks the wit and intelligence of its predecessor.
  75. Chaos Walking
    While it has an interesting hook, Chaos Walking never capitalizes on its premise or the promise offered by its cast.
    • 49 Metascore
    • 50 Critic Score
    Cleaner
    Cleaner needed serious editing and instead, seems intent on being long and drawn out to prove some sort of point.
    • 49 Metascore
    • 50 Critic Score
    Den of Thieves
    Clichés combined with poor dialogue and badly drawn characters that lack dimension bog down the heist movie Den of Thieves, which fails to sustain, or generate, any real tension.
  78. Hostiles
    Scott Cooper directs Hostiles with an eye for quote-unquote “greatness” but the actual material simply isn’t deep enough to justify the solemn presentation. It’s not entertaining, it’s not illuminating, it’s not even complicated. It’s mostly just a bummer.
  79. Red Notice
    Three A-listers globetrot and double-cross each other in Red Notice, a derivative action film that should be much smarter and sexier than it ends up being.
  80. The Titan
    Taylor Schilling does her best here to keep things alive and afloat but The Titan insists on languishing in unremarkable material way too long.
  81. Greyhound
    Greyhound has occasional bursts of violent excitement but it's overall lack of engaging characters, the unappetizing CG, and the lackluster story make for a very color-by-numbers outing from a headlining star capable of a whole lot more.
  82. City of Lies
    Even as its ambitions are laudable in casting a wide net over a variety of societal ills, the film can’t quite muster the will to follow through on those ambitions and instead succumbs too often to cliche when complexity was required.
  83. Like Father
    I'm not sure who first had the idea to fit a father/daughter drama into a rom-com casing but the result is very weird and very unfulfilling. Tonal whiplash is the least of Like Father's problems though as it basically furthers the messaging that Netflix likes to have talented people make unexceptional films.
  84. Puppet Master: The Littlest Reich
    Puppet Master: The Littlest Reich almost works. The dialogue and performances are unusually good for this kind of material, and the gore effects are shocking. But the changes the filmmakers made to this franchise have unpleasant consequences, which dramatically reduce the film's entertainment value, and arguably rob these iconic puppets of the very characteristics that made them special.
  85. Dumbo
    Sadly, this routine remake doesn't manage to recapture the surreal strangeness of the original Disney classic or elevate the dated premise into something better.
    • 49 Metascore
    • 50 Critic Score
    Class of 1984
    While not as sweeping as The Warriors - lacking that film's epic underpinnings - Class of 1984 is a goofy jolt of low-octane ultra-violence.
  87. Once Upon a Deadpool
    Once Upon a Deadpool is a cute idea that doesn't live up to its potential, leaving audiences with little more than a less interesting version of a better movie they might have loved.
  88. The Witches
    Zemeckis turns this beloved, dark story into a campy, weird, yet still fairly entertaining kid-friendly story of accepting oneself. The problem is that it pales in comparison to what came before.
  89. Ma
    There’s plenty to giggle at throughout, and even a few moments that might just give you goosebumps. Those qualities alone, despite the film’s flaws, make Ma an almost endlessly entertaining watch.
  90. The Silence
    Here A Quiet Place thrilled by presenting a fleshed out family under a precise and horrifying threat, The Silence is satisfied to just plop down barely sketched characters then throw them into The Birds but more violent. That doesn't make it satisfying. There's just nothing special to be found in The Silence.
    • 42 Metascore
    • 50 Critic Score
    Stuber
    Stuber is an awkward, uneven action-comedy that never realizes its full potential. It squanders a good premise and an odd couple pairing with potential that could have delivered something special.
  92. The Jesus Rolls
    The Jesus Rolls, while a passion project for the writer/director/star -- though it's unclear what Turturro wanted to do more: remake Going Places or do a Jesus follow-up? -- comes off like a flat fever dream. The famous faces are fun and at times there's a wee bit of misfit charm, but in the end it's clumsy and churlish.
    • 47 Metascore
    • 50 Critic Score
    Pumpkinhead
    It's a by-the-numbers variation on "The Monkey's Paw" coupled with a revenge flick. What makes the film worth seeing is not the story, the production values, or even the work of a truly underappreciated character actors like Henrickson. It's an eight foot tall demon ripping people to spare parts.
  94. Wrinkles the Clown
    Wrinkles the Clown is a documentary that frequently entertains, but lacks true insight into the viral phenomenon.
  95. Earthquake Bird
    Netflix's Earthquake Bird is a not particularly engaging thriller featuring an inert performance from Alicia Vikander.
    • 35 Metascore
    • 50 Critic Score
    Revenge
    It achieved a cult following for its uncompromising brutality, but it never really earned the critical or financial success many thought it deserved.
  97. Bombshell
    Charlize Theron's eerie turn as Megyn Kelly aside, Bombshell doesn't do justice to the subject matter it explores.
  98. Wendy
    Though Benh Zeitlin clearly has a knack for directing children and an eye for shooting beautiful locales, Wendy ultimately falls flat. The pacing is uneven, the overt messaging spirals from hamfisted to uncomprehensible, and as good as the children at its core are, the film never offers up a story or film that is deserving of them.
  99. Morbius
    Morbius is unspectacular in ways that waste the potential of what could be an intriguing hybrid of sinister horror and superhero thrills.
    • 64 Metascore
    • 50 Critic Score
    Vivarium
    Vivarium rates as an ambitious near-miss.
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