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For 5,179 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 4.4 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: 3,579 out of 5179
  2. Mixed: 1,334 out of 5179
  3. Negative: 266 out of 5179
5179 movie reviews
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  1. The Legend of Tarzan
    Don’t be fooled by the lack of spandex: The Legend of Tarzan turns the Lord of the Apes into just another superhero, the newest movie about fiction’s greatest wild man memorable only for the dull irony of how housebroken it feels.
  2. The Fabulous Four
    The Fabulous Four might feel like a series of math problems that don’t quite add up, but it’s still an enjoyable time at the movies — especially if you choose to gobble down gummies at the same rate as the “geriatric” cast of Jocelyn Moorhouse’s raucous comedy.
  3. Kidnap
    The Emoji Movie might have been a boring and brazenly cynical piece of corporate propaganda, but at least it had the courtesy to be offensive. Kidnap, on the other hand, doesn’t have the the courtesy to be much of anything.
  4. Holidate
    Predictability doesn’t have to be a sin when it comes to the often paint-by-the-numbers world of romantic comedy, but this awkward combination of expectation and disdain for it make for a film only fleetingly worthy of celebration.
  5. Pacific Rim: Uprising
    A generic and diverting sequel that corrects some of the original’s biggest mistakes while also highlighting some of its more eccentric charms, “Uprising” drops us into a world that’s much richer than what the previous film left behind.
  6. Heart of Stone
    The film, of course, sets up for a sequel or two, another franchise for the algorithm to chew up, more artificial entertainment to consume, another screen to watch. Next time, we humbly ask, can we get a little more human?
  7. Murder Mystery 2
    Murder Mystery 2 is the perfect background noise that Netflix has built an empire out of.
  8. Have a Good Trip: Adventures in Psychedelics
    Like most bad trips, Cary’s documentary is ultimately harmless. And like most bad trips, you realize something’s gone wrong after just a few minutes, and then start to freak out that it’s never going to end.
    • 44 Metascore
    • 67 Critic Score
    The Brothers Grimsby
    The comedy is as broad as it could be, knee-deep in political incorrectness and bad taste. But as ever with Cohen, it's fueled by such imagination and daft abandon that what ought to be offensive becomes hilarious.
  10. Brightburn
    The film’s bent towards revisionist superhero history is certainly compelling, but stuck in the confines of the horror genre, it flames out far more than it flies.
  11. Pain Hustlers
    Long on voiceovers, short on specificity, and so high on the generic-brand Scorsese of it all that it glosses right over the gray areas that make its characters so tragic, Yates’ film is more focused on being easy to swallow than it is on meaningfully addressing the source of the pain.
  12. The King's Man
    The film’s tone is less cheeky and more serious, especially in the first half, but Vaughn and co-screenwriter Karl Gajdusek have their cake and eat it too by doling out standard “Kingsman”-esque thrills in between heady conversations about non-violence, colonialism, and the horrors of war.
  13. Foe
    Perverse as it is to cast two of the world’s most talented young actors as the two sides of a curdled marriage, Mescal and Ronan both excel at sinking into themselves, with the latter’s irrepressible force of will squeezing against the walls of the musty farmhouse as if her life were a shoe five sizes too small.
  14. Ricky Stanicky
    The funniest thing about Ricky Stanicky might be how recently its director was holding an Oscar on the stage of the Dolby Theater.
  15. Next Goal Wins
    Next Goal Wins is largely a misfire, one that’s too unwilling to stop kidding around for even the most important of moments.
  16. Manhattan Night
    Despite being rife with crime, sex and darkness, Manhattan Night feels increasingly like a cheap ripoff of the genre it so very much wants to fit into.
  17. Voyagers
    The middling but enjoyable Voyagers is meant to be a timeless parable about the primitive essence of human nature; if its space-age shenanigans are broadly identical to the beats of a book William Golding wrote about a group of preadolescent boys who crash on a deserted island during World War II, that’s more of a feature than it is a bug.
  18. Planetarium
    A beautiful wisp of an idea that is seldom compelling and almost never coherent, Planetarium squanders an irresistibly alluring premise.
  19. Mortal Engines
    Even at its worst (which is where it often resides), “Mortal Engines” is still a rousing advertisement for the theatrical experience.
  20. Finestkind
    As I watched this turgid muddle, a messy ball of nonsensical threads and worse performances, I couldn’t help but be reminded of Roger Ebert’s old maxim: No good film is too long, and no bad film is too short.
  21. Hot Summer Nights
    Elijah Bynum’s debut embracing every last cliche it can find in a perverse attempt to forge its own identity. It’s a noble effort that comes up empty. Instead of something original, we’re left with a sweaty pastiche that shares its protagonist’s desire to be all things to all people, only to wind up losing any sense of itself along the way.
  22. The Old Guard 2
    The Old Guard 2 is frustratingly — if also pointedly — rushed for a movie about people who’ve been alive for eons, and it never gives any of its characters the chance to meaningfully hash out how the bonds of friendship might pull tighter as they get twisted over the course of a few hundred decades.
    • 44 Metascore
    • 50 Critic Score
    Rifkin's Festival
    As the film explores San Sebastian — with its marvelous architecture and sprawling beaches — it starts to feel like Rifkin’s Festival is content to get lost with its anti-hero rather than trying to find a substantial narrative to support his existence.
  24. Batman v Superman: Dawn of Justice
    Rather than focusing on a cataclysmic showdown between pop culture's most famous men in tights, Zack Snyder's flashy, cacophonous follow-up to 2013's "Man of Steel" is basically one long teaser for the next installment.
  25. Cook County
    There's nothing slick or entertaining about the crumbling existence of Pomes' unsalvageable antiheroes.
  26. The Jesus Rolls
    The freewheeling Jonathan Demme energy only grows more infectious as the film drifts along, Émilie Simon’s buoyant flamenco score finds the zest in each scene, and the lightly fantastical “none of this matters” attitude feels like manna from heaven in an age of interconnected cinematic universes
  27. Mortal Kombat
    This “Mortal Kombat” is more broadly watchable than the 1995 version ever was, but it’s hard to shake the dull sensation that video game movies are now playing us.
    • 44 Metascore
    • 25 Critic Score
    The Bronze
    For a comedy of such misjudged tones, Rauch is best when she plays up Hope's dramatic tendencies rather than her comedic side.
  29. Bloodshot
    Bloodshot is a throwback actioner that likely would have killed in the late ’90s, but now feels every inch the product of that era’s humor and innovation. In a rapidly changing world, however, that might not be a bad thing.
  30. Jobs
    The movie is constantly at war with attempts to provide an honest portrayal, almost as if its subject were reaching beyond the grave to steer any negativity back in the direction of a hagiography.
  31. Forever Young
    An autobiographical portrait that somehow leaves you knowing less about the subject at hand, and a study of actors, warts and all, that offers little insight into the artistic process.
  32. Night Swim
    There is absolutely an audience for this: one that will delight in watching Condon full-on battle a pool cover and cackle hearing Russell say, with his whole chest, “That pool is the best thing…THAT EVER HAPPENED TO ME.”
  33. The Beast Within
    The Beast Within has nothing much to offer except the domestic violence allegory at its center, so Farrell repeatedly emphasizes, spotlights, and underlines it in red, just in case anyone was unclear about what the film was really about.
  34. The Princess
    Hulu’s dull and exasperatingly basic “The Princess” wastes a slew of talent on a straight-to-streaming cheapo so undercooked that it feels like an AMC psy-op designed to make you run to the nearest multiplex and beg for a ticket to whatever’s showing next.
  35. Hunter Killer
    Even among Gerard Butler vehicles, this one sinks right to the bottom.
  36. Choose or Die
    Choose or Die is a perfect entry point into genre for younger viewers, one that will also satisfy old school diehards even as it takes some pointed (perhaps deserved?) jabs at them.
  37. Maggie Moore(s)
    The “aw shucks” small town vibe of it all, complete with Hamm being seen as the most eligible bachelor around, eventually codes Maggie Moore(s) as more of a rom-com than a murder mystery. But weighed down with a cliched script and tired acting, the film doesn’t fully land either genre seamlessly.
  38. Bob Marley: One Love
    "One Love” plods through an inert, and-then-this-happened structure that neglects to illuminate or entertain. It’s watchable only because of performances from Kingsley Ben-Adir and Lashana Lynch, who admirably attempt to imbue Bob and Rita Marley, respectively, with genuine life absent from the rest of the film.
  39. Antebellum
    Antebellum might have been a movie that met this awful moment, but its confused attempt at seeing yesterday in today resolves as a throwback to a time when anyone could actually overlook it in good faith.
  40. The Angry Birds Movie
    Perhaps just as disappointing as the haphazard storytelling is the squandering of a top-flight voice ensemble.
  41. 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.
  42. The Girl in the Spider's Web
    Lisbeth is never going to be cuddly or sunny, but that doesn’t mean she has to be robotic or impossible to read. That’s something that Foy and Alvarez clearly understand, and the result is a heroine not only worth cheering for, but one worth loving and even understanding.
  43. Maleficent: Mistress of Evil
    An overlong blend of kid-friendly “Game of Thrones” warfare and standard-issue metaphors of intolerance, Maleficent: Mistress of Evil finds plenty of ways to build on the original premise, but few that resonate any better than the last flamboyant ride.
  44. All I See Is You
    All I See Is You continues to be fun and involving even when things get truly ridiculous in the third act and Forster starts relying on the sheer momentum the plot in order to speed over its potholes.
  45. Redemption
    As a statement about the fixed nature of cinematic tropes, Redemption provides a compelling supplement to Statham's current stardom.
  46. A Family Affair
    With A Family Affair, Efron picks up where “17 Again” left off, and it’s a delight to see this former teen heartthrob back in a similar mode.
  47. Night School
    Lee’s proven talent for mixing broad situational humor with sly character work is almost completely missing in action here.
  48. Wish I Was Here
    Braff hasn't made another generational statement, but rather a regurgitation of tropes that got old a long time ago.
  49. The Strangers: Chapter 1
    Yes, the masks are great. And yes, home invasions will aways be scary. But when it comes to messing with genre classics, your answer to “Why remake a near-perfect film?” can’t be “It was here.”
  50. Where the Crawdads Sing
    That it’s able to split the difference between Nicholas Sparks and “Nell” with any measure of believability is a testament to Daisy Edgar-Jones’ careful performance as Kya Clark.
    • 43 Metascore
    • 58 Critic Score
    Based on a True Story
    A stylish but ultimately stiff collection of old tropes about writers and their audience, fiction vs. reality, and the Other that becomes you.
  52. The Old Way
    The first part of the problem is that Donowho’s competent but uncompelling oater doesn’t have enough fresh meat on its bones to fill out its Western cosplay.
  53. Blood Red Sky
    What could’ve been a fun chimera that someone Frankensteined together from two wildly different films instead becomes a low-flying slog that fails to sew its mismatched parts into a monster with a personality of its own.
  54. The Aftermath
    None of the pretty imagery or impassioned lovemaking can break free of a mopey old formula that sits on every scene with the same schematic quality that makes its weary setting so familiar from the start.
  55. A Big Bold Beautiful Journey
    A Big Bold Beautiful Journey is miscalculated as a romance and a fantasy, and while I’m loath to blame a craftsman as intelligent as Kogonada entirely for the outcome, he did, after all, agree to direct this lousy script. A big, bold, beautiful bore indeed.
  56. Clover
    Clover is at its best when it leans into its more silly side, playing up the ludicrousness of many of its twists alongside a cast that’s not interested in winking at them or going for the easiest of laughs.
  57. In Dubious Battle
    Franco clearly enjoys playing the idealistic rabble rouser, and who wouldn’t want to direct a movie so they could cast themselves as a charismatic radical? Unfortunately, watching someone else play make believe is only fun if you believe it yourself.
  58. Machine Gun Preacher
    The action scenes in Machine Gun Preacher work fine on their own, but they cheapen a work that attempts to command great importance.
  59. Mother/Android
    A forgettable post-apocalyptic pastiche that borrows liberally from “The Terminator,” “The Last of Us,” and “A Quiet Place” without building upon those influences with any new ideas of its own, Mattson Tomlin’s Mother/Android is the sort of mediocre streaming fare that might appease genre fans for 100 minutes or so, but will almost certainly leave them pining for the days when original sci-fi movies demanded (or at least encouraged) a modicum of originality.
  60. Back to Black
    The palpable sincerity behind “Back to Black” almost makes its myriad weaknesses more glaring. Everyone involved in the film approaches the late artist with love and respect, but its tawdry instincts and misguided sense of responsibility let her memory down.
  61. The Takedown
    In a Netflix movie that’s so breezy and enjoyable because of its complete lack of stakes, Leterrier’s approach gets the job done. In the penultimate installment of a gazillion-dollar franchise whose fans have come to expect vehicular mayhem on an interstellar scale, it probably won’t be enough to avert a slow-motion car crash.
  62. Dark Phoenix
    It just sort of happens, and not even the movie itself seems to know why.
  63. A Dog's Purpose
    What is the meaning of life? Are we here for a reason? Is there a point to any of this? We may never know, but knowing this movie exists may bring some viewers one step closer to giving up on the whole damn thing.
  64. Last Days
    All the promise of this premise is squandered in Lin’s adaptation, which in style and structure hews to hackneyed convention at every turn.
  65. Snake Eyes: G.I. Joe Origins
    The action scenes are so inexplicably painful — and the character work in “Snake Eyes” is so unexpectedly strong — that your heart sinks whenever the swords come out.
  66. 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.
  67. To Catch a Killer
    If a tired retelling of a serial killer thriller premieres in theaters and nobody sees it, did it actually happen? Unfortunately, yes.
  68. Death Note
    The only reason to take such a uniquely Japanese story and transplant it to Seattle is to explore how its thorny moral questions might inspire different answers in an American context, so for this retread to all but reduce America to its whiteness indicates an absence of context more than anything else. It’s the most glaring symptom of a film that utterly fails to investigate its premise.
  69. Glass
    The trouble with Glass isn’t that its creator sees his own reflection at every turn, or that he goes so far out of his way to contort the film into a clear parable for the many stages of his turbulent career; the trouble with Glass is that its mildly intriguing meta-textual narrative is so much richer and more compelling than the asinine story that Shyamalan tells on its surface.
  70. Dealin' with Idiots
    Dealin' With Idiots is powered by a cast of terrific character actors.
  71. 47 Meters Down: Uncaged
    Without the star power of Mandy Moore and the relative sophistication of the single location predicament, 47 Meters Down: Uncaged is just the last gasp of a shark saga that didn’t need to come up for air.
  72. Anaconda
    Anaconda constricts its premise a little tighter as it moves along (if only because the absurdity ratchets up in a way that forces the film to adopt a clearer sense of itself), and there are some undeniably amusing bits of stupidity along the way.
  73. Scoob!
    Part origin story of the Mystery, Inc. team (Scooby-Doo and the rest of them, for newbies), part Hanna-Barbera homage, the animated feature is a charming enough diversion that adds to the appeal of the original show.
    • 43 Metascore
    • 42 Critic Score
    Cruising
    Recouping this one amounts to nothing more than taking part in a Friedkin vanity project. Cruising has been freshly dug up for a new generation of luckily clueless viewers; but, as we know, children shouldn’t play with dead things.
  75. Office Christmas Party
    Like any office Christmas party you’ve ever been forced to attend, it kind of feels a little bit too much like work to be fun, and — like any office Christmas party you’ve ever been forced to attend — it’s just a tiny bit too diverting for you to storm out before the whole thing crawls to its sad conclusion.
  76. Snow Flower and the Secret Fan
    While indisputably beautiful and affecting in parts, "Snow Flower" is dominated by tame dramatic ingredients that never fully gel.
  77. Old Dads
    I’m all for comedies mixing things up with deliberate intention, but “Old Dads” smacks of simple rookie mistakes that suck the air out of even Burr’s most road-tested bits; the plotting is so clumsy and erratic that it’s easier to stop following the story and just keep a running list of all the things that make Jack angry.
  78. Unfrosted
    Unfrosted sprinkles in a few choice examples of Seinfeld’s observational schtick (“the magic of cereal is that you’re eating and drinking at the same time with one hand”), but it mostly sees him using the film’s Boomer milieu as a backdrop for an uninspired mishmash of contrived sight gags and anachronistic cultural references.
  79. Stuber
    This silly trifle might not stand the test of time, or even be remembered by the time you get home, but it gets you where you’re going with a smile on your face.
  80. 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.
  81. I Know What You Did Last Summer
    Harpoons have never been more terrifying than they are here, and Robinson and Lansky expand Williamson’s once quaint universe so dramatically that it can be shockingly hard to see the Fisherman coming.
    • 42 Metascore
    • 58 Critic Score
    The Adderall Diaries
    If anything, The Adderall Diaries is worth seeing for the ways it challenges the audience to examine and take responsibility for their own personal narratives.
  83. The King of Kings
    The King of Kings does offer a theologically accurate message that’s largely about being kind and helping the needy. If you fast-forwarded through all of the Dickens nonsense, it would make an adequate introduction for a young child looking to learn the basics of the Christian faith.
  84. Fatale
    What’s most deadly about Taylor’s latest isn’t a miscast Swank or her character’s demented arc, or even the uncomfortable Ealy and his character’s insane idiocy, it’s the sense that this sub-genre should still be able to have plenty of naughty fun doing very bad things. Just not this kind of bad.
  85. Locked Down
    COVID-19 serves as a fitting backdrop for an amiable romp about the freedoms we take for granted, and the confines that dictated our lives long before we were forced to spend them at home.
  86. Transformers: Rise of the Beasts
    The most tragic part of the entire debacle is the realization that Hasbro saw this movie as an opportunity to introduce grander storytelling ambitions.
  87. Robert the Bruce
    Robert the Bruce seeks to explore the relationship between a ruler and their people, offering intimacy and personal concern as the best defense against a puppet government. Unlike its namesake, however, this cold and slapdash costume party of a film never figures out how to unite its many scattered parts.
  88. Transcendence
    While never as dynamically involving as Christopher Nolan's "Inception," for which longtime Nolan director of photography Pfister justifiably won an Oscar, Transcendence still grapples with provocative existential concepts in similarly thoughtful terms.
  89. South of Heaven
    The only bright spot about the odd timing of South of Heaven is that it’s so obviously a relic of pre-pandemic Hollywood, one that hopefully will stop making lifeless thrillers full of hackneyed dialogue and formulaic action.
  90. The Current War
    The Current War forces viewers to spend so much time wading through its aesthetic that it becomes easy to lose track of its ideas, or grow too bored of them to bother following along.
  91. Mafia Mamma
    Though it’s all satisfyingly silly, Mafia Mamma never quite find its tone. Hardwicke doesn’t seem to know if she’s doing Quentin Tarantino or Mel Brooks, and the two styles are so far apart that splitting the difference lands the movie out at sea.
  92. Overboard
    Hammy jokes fall flat and that bloated run time sags in the middle, weighing down would-be snappy humor. It should all pop, but Overboard settles for a low crackle.
  93. Mister America
    Mister America is the kind of comedy that can pivot from lethargic to legendary on the turn of a dime (if only for a minute or two).
  94. Aquaman And The Lost Kingdom
    Where the previous “Aquaman” was psychedelically high on its own supply and so eager to top itself that it eventually led to Jason Momoa talking to a mythical sea monster who sounded a lot like Julie Andrews, “The Lost Kingdom” becomes more and more formulaic as it digs into its mythos, as if the movie were caught between being its own thing and being nothing at all.
  95. The Ice Road
    If this mildly refreshing mid-June spectacle is as thin and straightforward as the terrain that it covers — forgettable in a way that makes you feel like it’s melting while you watch it, and never as slick an action vehicle as its premise might suggest — it still manages to offer a few mild twists before the journey is over.
  96. Swiped
    The film’s anti-patriarchal thesis is a worthy one that feels oddly undeveloped given that it’s the entire point, the actors here merely reading lines from a script as pat as a canned solicitation to swipe right.
    • 42 Metascore
    • 42 Critic Score
    Inferno
    If the first film was ploddingly, airlessly faithful to its source, this follows the second in being frantically paced, chaotic and increasingly exasperating.
  98. Captain America: Brave New World
    It’s fitting enough that “Brave New World” is a film about (and malformed by) the pressures of restoring a diminished brand. It’s even more fitting that it’s also a film about the futility of trying to embody an ideal that the world has outgrown. Sam Wilson might find a way to step out of Steve Rogers’ shadow, but there’s still no indication that the MCU ever will.
  99. Burnt
    Burnt deals less with the food itself than the way it drives Adam to the brink of insanity. Yet it falls short of generating any real urgency surrounding that situation.
  100. Wild Mountain Thyme
    Shanley, whose script for “Moonstruck” suggests that he once had a slightly tighter handle on this sort of thing, brings his play “Outside Mullingar” to the screen like he’s trying to fill every close-up with enough whimsical enchantment to reach the back row of a Broadway theater. The lethal intensity of this effect cannot be overstated; the only logical explanation for what happened here is that someone planted a bomb in Shanley’s editing bay and timed it to explode if any cut of Wild Mountain Thyme dipped below 50 kilohertz of cartoon Irish charm per minute.
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