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For 5,173 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 The Only Living Pickpocket in New York
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,574 out of 5173
  2. Mixed: 1,333 out of 5173
  3. Negative: 266 out of 5173
5173 movie reviews
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  1. Special Correspondents
    Special Correspondents is more about smirking sideways than it is laughing out loud, but it doesn't provoke much of either — it's one thing for Gervais to subdue his usual bark, but his bite has never been softer.
  2. Needle in a Timestack
    Though the movie is clearly enamored with its own creativity, it’s not fun for anyone else. The title alone has already inspired titters online, and the movie is just as clunky and overwrought.
  3. The Week Of
    After 85 minutes of mediocrity, The Week Of finally lands on one inspired bit, and then there’s another half hour to go.
  4. The Catcher Was a Spy
    From the flat battle sequence that’s shot with all the excitement of folding laundry, to the literal chess match that anchors the underwritten dynamic between Berg and his target, The Catcher Was a Spy shrugs through each bad scene as though it’s biding time for better ones to come.
  5. Undrafted
    Undrafted is a baseball movie that never wants you to forget that it’s about baseball, even if that reminder comes with lengthy dugout anecdotes delivered to teammates who are surprisingly indifferent to the outcome of a game that’s supposed to mean so much.
  6. Man Down
    If [LaBeouf's] ultimately powerless to make this film worth watching, his performance is a strong reminder that his work should never be taken for granted.
  7. The Paperboy
    Lee Daniels' The Paperboy is a rare case of serious commitment to outright silliness.
  8. Freaky Tales
    Freaky Tales is Boden and Fleck’s attempt at applying their studio lessons learned circa “Captain Marvel” to something supposedly more personal, but this film just ends up only repeating that one’s most grating tendencies.
  9. Madame Web
    An inoffensive, almost endearingly lame whiff of a movie that has the misfortune of arriving at a time when the superhero genre has almost returned to pre-MCU levels of popularity, this “Daredevil”-ass disaster is hilariously retrograde for a story about someone who discovers that she can see a few seconds into the future.
  10. Table 19
    Blitz manages to land the occasional punchline, but the smattering of decent jokes only call further attention to the film’s complete lack of rhythm.
  11. The Girl on the Train
    No matter how basic Hawkins’ book might be in comparison to some of the ones that came before it, it’s hard to argue that it didn’t deserve better than this, that any story so smartly attuned to the need for women to hear themselves and each other should be reduced to such flavorless swill.
  12. The Goldfinch
    The big problem with The Goldfinch — a lifeless film that doesn’t consist of scenes so much as it does an awkward jumble of other, smaller problems stacked on top of each other like kids inside a trench coat — is that it mistakes its source material for a great work of art.
  13. The Dirt
    Rock biopics often struggle with the part after the party’s over, but The Dirt becomes unusually adrift; at times, you can’t even tell what decade you’re supposed to be watching.
  14. Space Jam: A New Legacy
    Space Jam: A New Legacy is as relentlessly odd as its predecessor, but its even giddier interest in corporate synergy turns it into a far more cynical outing. It will sell so many plush toys.
  15. Lou
    Janney makes a great murderous curmudgeon, but the script’s big reveal strands the actress with a “layered” character who’s never given the chance to transcend the most basic aspects of her archetype. Worse: She only gets to kill like three people!
  16. The Stand In
    Whatever The Stand In wants to announce itself as, no amount of bald-faced lies and winking observations about Hollywood can change what it really is: a bad movie, made worse by all the wasted possibilities.
  17. Bohemian Rhapsody
    The critical failure of Bohemian Rhapsody is that, 134 minutes after the lights go down, the members of Queen just seem like four blokes who’ve been processed through the rusty machinery of a Hollywood biopic.
  18. The Wandering Earth
    Perhaps no other movie has better illustrated the golden rule of CGI: Just because you can, doesn’t mean you should.
  19. Equals
    It’s hard to understand why Doremus, whose Sundance-winning “Like Crazy” was an effective reminder that emotion can be a narrative unto itself, would regress towards a story in which he renders that idea redundantly literal.
  20. When We First Met
    From the start, Whittington’s script lays everything out so schematically that there’s little reason to keep watching for the story.
  21. Monster Trucks
    The scenes where Creech and co are outracing the Terravex death squads are playful and inventive enough to provide a glimpse of what this movie could have been if it weren’t so remarkably bad in most other respects.
  22. Keeper
    Lacking in chemistry, clarity, and conviction, Neon’s latest rendezvous with Perkins hits like a crumbling marriage that would serve everyone involved by ending as soon as possible.
  23. The Invisible Man
    "Saw" writer Leigh Whannell mixes metaphors in this limp remake, using gaslighting and privacy fears for his uneven sci-fi horror.
  24. Breaking News in Yuba County
    It’s the kind of movie that seems to suck your soul out while you’re watching it, variably crass and slapstick humor landing with a bloody thud.
  25. The Witches
    Zemeckis has made some unsuccessful films over the last 20 years, but The Witches is the most frustrating of them all because it feels like it could’ve been made by somebody else. Anybody else.
  26. The Hollars
    Woefully inauthentic, milquetoast as a mild breeze and far too tidy for any of its sweeping resolutions to have even the faintest hint of staying power, The Hollars takes 88 minutes to inspire the same warm and fuzzy feeling that a Hallmark card can deliver in a heartbeat.
  27. The Dark Tower
    King’s Dark Tower universe is rich with cultural reference points and is always totally unpredictable, but in cutting it down to consolidate its highlights, The Dark Tower can’t even shoot the most necessary bullets straight.
  28. No Stranger Than Love
    By the time the entire town discovers that Clint is trapped in a weird hole and Lucy has fallen for Chatwin’s Rydell White, No Stranger Than Love picks up some serious steam, balancing its bizarre tone with actual charm. Sadly, however, it’s too late to pull the production out of its own gaping void: The inability to treat its characters with respect.
  29. Fantastic Four
    A superhero film with no power and worse special effects that attempts to rewrite a story that's yet to be told effectively.
    • 40 Metascore
    • 33 Critic Score
    Aloha
    Equally hobbled by an amateurish script and vaguely defined characters, the movie's long list of mediocrities have an anonymous quality, as though the director has been completely reborn as a hack.
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