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For 5,235 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 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 La Gradiva
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,618 out of 5235
  2. Mixed: 1,348 out of 5235
  3. Negative: 269 out of 5235
5235 movie reviews
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  1. Ismael's Ghosts
    At its best, the movie is a freewheeling gambit, hurtling in multiple directions at once, and it’s thrilling to watch Desplechin try juggle them all. [Cannes Version]
  2. You Were Never Really Here
    It’s an enticing challenge for the writer-director to develop a stylish mood piece out this flimsy material, adapted from a Jonathan Ames novella as a series of textured moments. The movie is an elegant homage to a mold of scrappy detective stories that often collapses into a concise pileup of stylish possibilities.
  3. Godard Mon Amour
    Light and inoffensive, it trades the intellectual rigor of Godard’s work for fluffy sentiments, but never gets crass. Above all else, it succeeds at transforming cinephile trivia into a genuine crowdpleaser.
  4. Jupiter's Moon
    Jupiter’s Moon is no simple story of escape, in part because Mundruczó’s script (co-written with Kata Wéber) has no real idea where it’s going.
  5. Happy End
    Rather than smothering the material in bad vibes, the filmmaker uses them to gradually reveal a fascinating world in which anger and resentment becomes the only weapon any of these people know how to wield.
  6. Loveless
    While not the same league as “Leviathan,” Zyvagintsev’s latest slow-burn look at anguished people tortured by problems beyond their control displays his mastery of the form.
  7. Let the Sunshine In
    As slinky as the reflection of a neon sign trailing across the hood of a black sedan, this is a slight movie, shot on a whim just a few months before its world premiere, and it feels cobbled together in its search for some kind of meaning.
  8. Double Lover
    A fitfully amusing erotic thriller in which nothing is what it seems, anything could happen, and everything is at least a little ridiculous.
  9. BPM (Beats Per Minute)
    Assembling the story out of small moments and gripping exchanges, Campillo grounds this earnest drama in a sense of purpose.
  10. Lover for a Day
    The always-understated director never mines the domestic situation for excessive melodrama, instead opting to step back and wryly examine the three leads’ contradictory impulses.
  11. Filmworker
    [A] suitably workmanlike documentary.
  12. The Square
    The director excels at generating a nervous energy around his character’s mounting desperation, and the movie’s intermittently engaging for that reason alone.
  13. Hermia & Helena
    By positioning Shakespeare within a chatty tale of young adulthood — and giving it a feminist slant — Piñeiro proves the vitality of the material without becoming subservient to it.
  14. Good Time
    After such powerful momentum, the brothers don’t quite stick the landing, but it’s a thrill to watch them try.
  15. The Day After
    The film is carried along on a powerful undercurrent of regret, and it comes to feel as though Bong-wan is a prisoner in the book-lined office where he ostensibly holds all the power.
  16. The Florida Project
    The Florida Project further cements Baker’s status as one of the most innovative American directors working today, but he’s also an essential advocate for the stories this country often doesn’t get to see.
  17. The Killing of a Sacred Deer
    Fortunately, the filmmaker’s rare gift for brutal absurdity remains intact, and The Killing of a Sacred Deer only gets funnier as it grows darker.
  18. The Beguiled
    The Beguiled is a lurid, sweltering, and sensationally fun potboiler that doesn’t find Coppola leaving her comfort zone so much as redecorating it with a fresh layer of soft-core scuzz.
  19. The Meyerowitz Stories (New and Selected)
    The Meyerowitz Stories (New and Selected) isn’t the wittiest or most exciting movie that Noah Baumbach has ever made, but it might just be the most humane.
  20. Wonderstruck
    This is a soul-stirring and fiercely uncynical film that suggests the entire world is a living museum for the people we’ve lost, and that we should all hope to leave some of ourselves behind in its infinite cabinet of wonders.
  21. Baywatch
    Baywatch won’t blow anything out of the water (except for the boat it sets on fire), but it will certainly make a splash.
  22. Blame!
    The film’s world-building is more engaging than its plotting, which skews toward the generic as the embattled good guys set out on their last-ditch effort to save what remains of humanity; there’s a sense, while watching Blame!, that there are more interesting stories on the fringes of this tribal future.
  23. Everything, Everything
    It may not break the mold in many ways but one, but the impact of that one is far from trivial.
  24. War Machine
    The movie veers from the broad doomsday satire of the “Dr. Strangelove” variety to a more subtle portrait of institutional failure, and doesn’t always succeed at modulating its tones, but it’s nevertheless a searing critique.
  25. Lost in Paris
    The pair blends storybook visuals with a stream of clever gags and oodles of pathos to deliver an infectious romance almost too eager to please at every turn.
  26. Pirates of the Caribbean: Dead Men Tell No Tales
    Kon-Tiki directors Joachim Rønning and Espen Sandberg are at the helm this time around, proving capable captains even if the script they’re working from isn’t always seaworthy.
  27. Term Life
    Perhaps the most damning thing that can be said about Term Life is that it’s exactly the limp, shapeless, and forgettable kind of thriller you might expect from the director of “Couples Retreat” (Peter Billingsley, a.k.a. Ralphie from “A Christmas Story”).
  28. Blade of the Immortal
    For all the great action and idiosyncratic antagonists (Erika Toda, as a brutally efficient warrior who can’t stomach violence is a particular standout) Blade of the Immortal is altogether too much.
  29. Okja
    As with Snowpiercer, this is a story almost too eager to fire in multiple directions, sometimes with messy results, veering from broad satire to softer exchanges with little regard for finding balance between the two.
  30. Paris Can Wait
    Like a fine conversation, which her solid script mostly delivers, Coppola keeps the tension in the air like a lightly bouncing ball.
  31. Meri Pyaari Bindu
    While Meri Pyaari Bindu isn’t entirely clichéd, it also never quite finds its footing in terms of tone, narrative, or chemistry between the lead characters, coming off instead as both confused and confusing about where it’s going or what it’s trying to say.
  32. Stefan Zweig: Farewell to Europe
    Schrader’s direction is unobtrusive but agile, as though she considers it her duty to provide a cinematic soapbox for Zweig and politely exit the spotlight.
  33. Hounds of Love
    These aesthetic flourishes are as necessary as they are nice to look at, and go a long way toward making the darker shades of Hounds of Love less of an endurance test.
  34. The Midwife
    Offering plum roles to Catherines Frot and Catherine Deneuve, The Midwife is a minor-key crowd pleaser about friendship, forgiveness and rolling with the punches.
  35. Snatched
    Pairing up talented comedians like Hawn and Schumer with a wacky plotline to match should spell comedy gold, but Snatched is about as cheap and disposable as a tourist trap tchotchke.
  36. King Arthur: Legend of the Sword
    Part “Game of Thrones,” part “Snatch,” and almost all bad, Guy Ritchie’s King Arthur: Legend of the Sword is one of those generic blockbusters that has nothing to say and no idea how to say it.
  37. Folk Hero & Funny Guy
    Russell and Karpovsky are a winning pair, and if they ever want to hit the road for more big jokes and even bigger revelations, any director would do well to let them take the wheel.
  38. A Woman's Life
    A Woman’s Life is a very particular experience, told with consistency and without a whit of compromise. It’s not always exciting, but there’s something tremendously rewarding (and very sad) about the matter-of-factness of it all, the ceaseless indifference of time’s steady forward march.
  39. Alien: Covenant
    Just as this series focuses on survival instincts, it seems that Scott has found a way to exercise his own, keeping the “Alien” series relevant by resurrecting the same old scares.
  40. Below Her Mouth
    It’s a fittingly ambiguous title for a directionless film, late night fare that will be enjoyed by just as many horny men as horny teenage lesbians.
  41. Last Men in Aleppo
    Last Men in Aleppo is less about finding meaning amidst a massacre than it is about people who are trying to survive without it.
  42. Get Me Roger Stone
    Of all the non-fiction movies that have already been made about the toxic cesspool of the 2016 election, or how Trump emerged from it like a leather-tanned Swamp Thing, Get Me Roger Stone is the one that best articulates how we got here and who’s to blame.
  43. It Comes at Night
    Once again, Shults has delivered a top-notch psychological thriller, but It Comes at Night builds an unnerving atmosphere around unspecified sci-fi circumstances.
  44. Whitney: Can I Be Me
    The film’s main triumph is in crafting a convincing narrative with a clear point of view.
  45. Sweet Virginia
    The film is gripping from start to finish, even when so much of its menace rings hollow.
  46. I Am Heath Ledger
    I Am Heath Ledger is far too loving a portrait to be confused for art — don’t expect another “Amy” — but the film’s superficial approach is buoyed by an overwhelming degree of sincerity.
  47. Flower
    At times, [Deutch's] performance is perhaps even too strong for the film that’s cobbled together around it, as the actress so convincingly indicates at Erica’s vibrant and complex inner life that she embarrasses the script’s feeble attempts to diagnose and solve her character.
  48. The Trip to Spain
    Director Michael Winterbottom hasn’t just delivered the funniest movie of the year, but also a comedy that casts its characters in a harsh new light.
  49. The Lovers
    The movie deals less with awkwardness of this comedic scenario than the emotions it creates for its central duo, and the psychological struggle when words can only go so far.
  50. The Death and Life of Marsha P. Johnson
    The Death and Life of Marsha P. Johnson is particularly suspenseful for the way it recollects the past through the prism of a murder mystery, brilliantly fusing an archival history with the elements of a detective story.
  51. Abundant Acreage Available
    Set in a single location with a cast of five, the movie offers a lesson in minimalist drama, unfolding as a sharply acted mood piece that never crescendos, but hums along with wise observations and first-rate performances.
  52. Stephanie
    Stephanie showcases the best and worst of that cheap model: It encourges an innovative and economical storytelling approach, but the scrappy production values obscure the stronger moments.
  53. The Wall
    The director’s instincts are a bit too broad to sell the full psychic horror of this scenario, and Taylor-Johnson will never be accused of being able to shoulder a movie by himself, but a super coherent sense of space and a vivid feel for the environment help The Wall to remain upright to the end.
  54. The Circle
    The premise begs to provoke contentious debate around privacy laws in an age of boundless innovation, but it can’t seem to find steady footing in that dialogue, in part because it lacks a substantial means of asking the right questions.
  55. Leaning Into the Wind
    Leaning Into the Wind will inspire anyone who sees it to look for the beauty in every gust, to admire how nature constantly rearranges itself, and us along with it. Even at its most self-conflicted, this is a fascinating reminder that some art wasn’t made to be owned.
  56. The House of Tomorrow
    A mawkish coming-of-age story that marries Sundance vibes with a soft punk spirit, Peter Livolsi’s The House of Tomorrow never manages to flesh out its skeleton of quirks, but its heart is definitely in the right place.
  57. Everything Else (Todo Lo Demás)
    Much of this quiet, slow-burn character study inhabits the dreary, remote quality of Doña’s existence, but with time, the movie pieces it together to reveal the emotional solitude lurking beneath that distant gaze.
  58. Guardians of the Galaxy Vol. 2
    Much of the material gets rehashed with slight variations...and many of the space battles have a redundant quality.
  59. Wakefield
    Swicord, perhaps a touch too reverent of Doctorow’s writing, can’t quite solve the limited emotional range of her protagonist.
  60. Tramps
    Having established such an electric pair, Tramps doesn’t quite know what to do with them beyond the initial setup.
  61. Super Dark Times
    Shot with the stoic confidence of a capable young director flexing his muscles, Super Dark Times is visceral and gripping throughout, its probing compositions forcing you to peer deeper and deeper into the darkness.
  62. Unforgettable
    Unforgettable treats this central struggle over the heart of a family in the same way that a recent Ken Watanabe character does, by surveying the battlefield and coming to a simple, definitive conclusion: “Let them fight.”
  63. Lucky
    Lynch’s directorial debut is a wisp of a movie, blowing across the screen like a tumbleweed, but it’s also the rare portrait of mortality that’s both fun and full of life.
  64. The Ballad of Lefty Brown
    By giving the spotlight to an archetype usually relegated to the background, writer-director Jared Moshé puts a revisionist spin on the familiar oater, but everything else about The Ballad of Lefty Brown is by the book.
  65. Sandy Wexler
    It’s awful, and yet it’s almost objectively Sandler’s best movie since “Funny People.”
  66. Little Boxes
    As knowing and perceptive as Howell’s script can be, it fails to galvanize its most sensitive ideas into compelling drama, and Meyer doesn’t recognize where a spark might be necessary.
  67. The Cage Fighter
    The movie works as a fascinating psychological dissection, and avoids any precise judgement of Carman’s habits.
  68. Muhi: Generally Temporary
    While Muhi develops a remarkable window into its main character’s predicament, it doesn’t push beyond the limitations of its classically cinema verite approach, and the assemblage of scenes from the hospital and beyond fall short of crystallizing into a complete analysis of Muhi’s situation.
  69. Glory
    It’s so confidently directed and performed that even the obvious bits sink in.
  70. The Fate of the Furious
    F8 is the worst of these films since “2 Fast 2 Furious,” and it may be even worse than that. It’s the “Die Another Day” of its franchise — an empty, generic shell of its former self that disrespects its own proud heritage at every turn.
  71. All These Sleepless Nights
    More than just a hypnotically hyper-real distillation of what it means to be young, All These Sleepless Nights is a haunted vision of what it means to have been young.
  72. SHOT! The Psycho-Spiritual Mantra of Rock
    Rock’s lack of self-importance prevents the doc from fetishizing the past, and Clay — who appears to have met the photographer on the set of a TV on the Radio video — is wise to assume that the world doesn’t need yet another reminder that it used to be full of gods.
  73. Mine
    The in-between moments when Mine is simply a guy stuck in the desert, trying to use his own wits to save himself, is when the film is at its very best, but that’s precisely what makes Mine such a disappointment: those moments are the in-between ones, not the bulk of the film.
  74. Smurfs: The Lost Village
    The Lost Village may be awful, but it’s not malicious. It doesn’t flaunt its mediocrity or celebrate its ugliness — it isn’t “Sing.”
  75. Salt and Fire
    Salt and Fire is by no means the most willfully obtuse film that Herzog has ever made — it seems as broad as a blockbuster when compared to the likes of “The Wild Blue Yonder” and “Lessons of Darkness” — but it’s the only one of his works in which his curiosity has completely eclipsed his insight.
  76. Carrie Pilby
    By trying to provide a little something for everyone, it ultimately offers precious little to anyone.
  77. Gifted
    Evans and Grace are exceedingly appealing together, and their charming chemistry keeps the film afloat even when it doesn’t seem to know which direction to move in.
  78. Live Cargo
    Fortunately, the black-and-white debut of writer-director Logan Sandler is just sharp enough to complicate its clichés with strong performances and a mesmerizing tone that pushes the mopey proceedings into psychological thriller territory.
  79. The Blackcoat's Daughter
    The root of evil in The Blackcoat’s Daughter isn’t particularly original or deep, but the movie’s twisty plot and eerie atmosphere makes it deeply unsettling anyway.
  80. Karl Marx City
    In its haphazard search for facts, it happens upon a great many truths about how we see each other, and the price we pay for looking too closely.
  81. Ghost in the Shell
    Whatever philosophical nuggets were lurking amid Oshii’s tangled plotting, they surely merited closer consideration by a filmmaker who wasn’t just trading in gloss, and doesn’t merely regard human beings as elements of design.
  82. Phillauri
    It’s all pleasant enough, but falls short of being as genuinely different as Clean Slate claims its films to be. As a romance, Phillauri lacks passion, and as a ghost story, it’s missing some much-needed spirit.
  83. I Called Him Morgan
    The director never intrudes on his film, but — even through the melancholic veil that Collin drapes over this ghostly portrait of the past — you can still feel his unbridled sense of discovery as he introduces the man who made this movie possible.
  84. Band Aid
    Band Aid is a thin but knowing portrait of how marriages stretch, sag, and pull back together.
  85. Prevenge
    At its best, Prevenge feels like a hilarious distillation of every conflicted, politically incorrect thought that many pregnant women are too polite to share in public.
  86. The Zookeeper's Wife
    Decency, in its raw, instinctive form, is ultimately what earns The Zookeeper’s Wife a place in the self-conflicted canon of Holocaust cinema.
  87. Saban's Power Rangers
    For all of its surprising relevance, Power Rangers feels hopelessly lost in time. There is an audience for this movie, but this movie has no idea who that audience might be.
  88. Life
    Life spends its first act building up some big ideas, but eventually unravels into another monster movie in space.
  89. After the Storm
    Hirokazu Kore-eda may only make good movies, but After the Storm is one of his best.
  90. I Am Another You
    Shot over the course of several years, the movie blends an intimate perspective with trenchant investigative chops, uncovering a transitory figure whose romantic ideals give way to a harsh reality check.
  91. Deidra & Laney Rob a Train
    Freeland is clearly having fun behind the camera, but broad and superficial performances mean the fun doesn’t always translate.
  92. Like Me
    Mockler transforms the material into a solid thriller with an edgy vision of millennial lunacy, sketching out a psychopath unique to the viral video age.
  93. The Work
    An emotionally riveting documentary that may very well be the most powerful group therapy ever caught on camera.
  94. Win It All
    By making a satisfactory crowdpleaser that doesn’t overextend itself, Swanberg has delivered his most traditional movie to date — and for this prolific filmmaker, who spent ages defying conventions, that’s nothing short of a radical step forward.
  95. Small Crimes
    A pulpy slice of pie from deep in the heart of American nowhere, Evan Katz’s Small Crimes is far too convoluted for such an admittedly modest thriller, but the film ties together in such a perfect bow that it’s tempting to forgive all of the knots it took to get there.
  96. The Most Hated Woman in America
    The Most Hated Woman in America makes it abundantly clear that Madalyn Murray O’Hair was a riveting human being whose story is worth telling in our messed up times, but the film never has the slightest idea of what that story might be about.
  97. T2 Trainspotting
    Considerably less ambitious or provocative than Boyle’s barnstorming first crack at these characters, T2 Trainspotting (can we please just call it “T2″?) is an enjoyable nostalgia trip about the extraordinary headache of trying to go home again.
  98. Most Beautiful Island
    Creating a lucid sense of reality only so that she can defile it with a wicked pivot towards madness, Asensio’s film creates a vision of immigrant life in America (and its value) that’s all the more urgent for how it uses genre elements to exaggerate the experience.
  99. Gemini
    Gemini resists easy categorization, evades tidy plot points and sometimes lead to frustrating dead ends. But it’s an absorbing world defined by open-ended possibilities, a kind of comedic psychological thriller in which the thrills exist in air quotes.
  100. Frantz
    While the entirety of Frantz holds less appeal than its gorgeous ingredients, it’s impossible to deny the sheer narrative sophistication that makes this gentle story much more than your average retread.
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