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For 5,163 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 The Only Living Pickpocket in New York
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,565 out of 5163
  2. Mixed: 1,332 out of 5163
  3. Negative: 266 out of 5163
5163 movie reviews
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  1. Short Term 12
    Taking its time to let the world take shape, Short Term 12 builds to an involving series of mini-climaxes without tidying up every loose end.
  2. Tiger Eyes
    Directed by Blume's son Lawrence, this gentle drama based on Blume's 1981 novel works surprisingly well considering the numerous trappings of the material, while demonstrating exactly why it's so difficult to bring Blume's work to the screen.
  3. V/H/S/2
    V/H/S 2 smartly contextualizes its nightmarish cavalcade of violence by acknowledging the luxury of enjoying it from a distance.
  4. The History of Future Folk
    Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.
  5. Blackfish
    The movie makes a strong case against the captivity of killer whales under sub-circus conditions, but the stance is made even more horrifying because so little has changed in the history of the organization. Blackfish is less balanced investigation than full-on takedown of a broken system.
  6. You Ain't Seen Nothin' Yet
    The cumulative effect is occasionally dizzying but transparent, a frantic attempt to cram themes into cinematic conceit.
  7. Shadow Dancer
    While not designed to entertain on the level of style and spectacle that one expects from a Bond film, this tense period drama from the director of "Man on Wire" presents a far more credible take on the daring exploits of British agents.
  8. Blue Is the Warmest Color
    Kechiche excels at capturing his protagonist's emergence in the world.
  9. Young & Beautiful
    At times a rich, intimate observation of emerging sexuality, the movie also maintains a quiet, observational rhythm that peaks around wintertime when things grow dark for the character and then more or less watches her grow up.
  10. The Selfish Giant
    Though slow-going for much of its running time, Arbor's delicate tale culminates with a frighteningly choreographed tragedy, but tacks on a beautifully evocative and mostly wordless epilogue that carries the semblance of progress.
  11. The Past
    Farhadi's new movie confirms his unique ability to explore how constant chatter and anguished outbursts obscure the capacity for honest communication.
  12. Only Lovers Left Alive
    If you can groove with Jarmusch's patient, philosophical indulgences and the wooden exteriors of his characters' lives, the movie rewards with a savvy emotional payoff about moving forward even when the motivation to do so has gone.
  13. The Immigrant
    Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
  14. Grigris
    A straightforward tale of overcoming personal and professional challenges with no fancy dressing, Grigris goes down easy but offers nothing remotely fresh.
  15. Borgman
    With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
  16. Bastards
    Bogged down by flashbacks and flash forwards, The Bastards pointlessly mixes up its ingredients, creating a distancing effect from the tangible sadness at its core. The result is the rare case of a movie that confirms its maker's skill while wasting it on useless ambition.
    • 50 Metascore
    • 83 Critic Score
    As I Lay Dying
    The film seems to have been made to suggest something of Faulkner's style in a cinematic medium, and it's certainly laudable that there have been very few concessions to the marketability of a project like this.
  18. All Is Lost
    The movie is an impressively realized work of minimalist storytelling that foregrounds Redford's physicality more than any other role in his celebrated career. His performance defines the movie to an almost shockingly experimental degree.
  19. Nancy, Please
    Paul's increasingly hectic attempts to retrieve the book dominate the movie so heavily that it leaves little room for considering how this effort fits into the rest of his world.
  20. Nebraska
    It's a sad, thoughtful depiction of midwestern eccentrics regretting the past and growing bored of the present, ideas that Payne regards with gentle humor and pathos but also something of a shrug.
  21. Like Father, Like Son
    The story works wonderfully as an idea, but Kore-eda never quite manages to infuse it with the same depth of feeling his main character goes through.
  22. The Congress
    A wholly original and thoroughly surprising fusion of sensory overload and liberal philosophy bound to confuse and provoke in equal measures.
  23. Only God Forgives
    The movie is like one thin satiric lark inexplicably slowed down to the point of lethargy.
  24. In the Fog
    In the Fog develops an unearthly spell that largely makes up for its cerebral pace.
  25. Inside Llewyn Davis
    An ode to art for art's sake, Inside Llewyn Davis is the most innocent movie of the Coens' career, which in their case is a downright radical achievement.
  26. The Bling Ring
    Coppola presents a smart cross-examination of the impact of media exposure on fickle young minds. While the ambitions of its young thieves often blur together and lack precise definition, The Bling Ring is the director's breeziest work, allowing the story to glide along with the ease of a heist movie.
  27. Byzantium
    By the standards of Jordan's earlier films, "Byzantium" is unquestionably a minor achievement, but its technical specs help flesh out a thick environment that elevates the proceedings to a lyrical plane.
  28. Berberian Sound Studio
    Berberian Sound Studio constructs a perpetually strange, unseemly series of events overshadowed (and sometimes consumed by) the spooky movie-within-a-movie that hangs over every scene.
  29. The World Before Her
    As a conversation starter, The World Before Her gets the job done. By virtue of the topic and interviews, Pahuja showcases plenty of tensions between old world values and idealistic goals. That's hardly enough to make its narrative persistently alluring or emotionally sound.
  30. The Great Gatsby
    Luhrmann's The Great Gatsby has the hallmarks of a contemporary Hollywood spectacle. It's missing the explosions, but make no mistake: Gatsby is one glitzy misfire.
  31. Dead Man's Burden
    Nothing about Dead Man's Burden reeks of homage to oaters of yore -- instead, Moshé has made a legitimate entry in a genre he clearly adores.
  32. Generation Um...
    Though ultimately unsuccessful, it valiant reaches for a funky, wild critique of hedonistic sluggards wandering through society with no clear direction. But more than anything else, it delivers Keanu in his element.
  33. The East
    As slickly paced as a big-studio espionage movie, it nearly succeeds as a pure adrenaline-rush thriller. In the end, the problem isn't that there's too much plot, but rather a certain dramatic illogic.
  34. Lovelace
    Just as the frequent cutaways from sexual activity tone down the titillation, Lovelace never garners the energy to construct a fully involving melodrama, rarely rising above Lifetime movie standards. Given the material, the irony here is that the filmmakers play it too safe.
  35. Drinking Buddies
    Swanberg once again shows a capacity for capturing small moments that exist outside the direction of the plot. At the same time, the effective fragments of "Drinking Buddies" take his oeuvre in a new direction by accumulating into a reworking big picture.
  36. Passion
    Passion simultaneously parodies its plot while elevating it to a strangely involving exercise in cinematic drama. The filmmaker has either lost control of the material or maintains the same calculation of his protagonists. But the entertainment value associated with that uncertainty is the essence of his career.
  37. Computer Chess
    Computer Chess excels at conveying the frustrations of feeling trapped by forces beyond one's control, the complexities of humanity irresolvable by any neat code.
  38. Cutie and the Boxer
    Heinzerling's beautifully shot, painfully intimate look at the aging couple's struggle to survive amid personal and financial strain is both heartbreaking and intricately profound. This is a story about creative desire so strong it hurts.
  39. Laurence Anyways
    The movie contains an epic scope that feels out of sync with the smallness of its plot; you get the idea by the first act and then Laurence's world simply hangs there for another two hours like a slo-mo shrug.
  40. Prince Avalanche
    The opposing genre extremes never entirely come together.
  41. The Lords of Salem
    Zombie's witches aren't as scary as the credible psychopaths he has portrayed before, but The Lords of Salem contains enough frenzied imagery in its climactic moments to make the spell linger.
  42. Post Tenebras Lux
    The issue with Post Tenebras Lux is that the narrative, not the filmmaker, feels dispiritedly half-baked.
  43. Pieta
    Kim's movies are generally grim, disturbing affairs, but "Pieta" leaves much to the imagination in favor of its unsettling implications.
  44. You're Next
    The filmmakers have crafted seriously derivative fun that plays like "Scream" molded with "Cabin Fever" in the twisted universe of "Final Destination." It's a familiar ride, but a relentlessly wild one as well.
  45. Black Rock
    Black Rock never reinvents the rules, but it understands them just well enough to make its bloodless stabs at ingenuity stand out.
  46. Crystal Fairy & The Magical Cactus
    Crystal Fairy has little to say beyond Cera's capacity to transform into an amazingly uncomfortable screen presence, something we already knew.
  47. Sightseers
    He's still cultivating his storytelling abilities, but Wheatley has clearly found his sweet spot: a darkly funny place with serious potential.
  48. Aftershock
    Aftershock has no earth-shattering revelations to make its mayhem stand out in the wreckage.
  49. It's a Disaster
    Writer-director Todd Berger, improving his technique with his second feature-length credit following "The Scenesters," combines enough energetic performances with charged wit to make this one doomsday comedy that earns the right to its familiar backdrop.
  50. Midnight's Children
    At times Midnight's Children balances off its earnestness with a sweeping view of history and tangible human drama, but the allegorical qualities of Rushdie's novel fail to translate as anything but a shrill, on-the-nose instance of thematic overreaching.
  51. Blancanieves
    If nothing else, Blancanieves offers an excellent case for revisiting the early days of cinema -- and for recognizing how much has been lost in its absence. While "The Artist" recalled the silent film industry, Blancanieves solely pays tribute to the art.
  52. Wrong
    In its wonderfully irreverent way, Wrong makes it clear that this reality is never to be trusted as anything more than a succession of strange moments that coalesce into an abstract representation of the subjectivity that traps us all. This is the essence of new film noir, which challenges our perceptions through a series of compellingly ambiguous moments.
  53. Spring Breakers
    Atmospherically, Spring Breakers is an elegant evocation of noir storytelling, littered with misdeeds with girls and guns at every turn.
  54. Trance
    Boyle's filmmaking style has a marvelous rhythm that weaves pop sensibilities into fluid and persistently exciting narrative experiences; he shakes these ingredients like colored sand in a jar, leading a fascinating degree of discombobulation.
  55. Everybody Has a Plan
    Eventually suffers from a lack of new ideas beyond its initial premise that finds the two brothers inadvertently swapping roles. Once that happens, the movie takes one bland twist after another.
  56. Dog Pound
    Chapiron stubbornly avoids an uplifting message, portraying his dangerous setting as a demonstration of virility that leads to madness.
  57. Love Is All You Need
    As Love Is All You Need goes through the motions of drawing its central couple together, Bier delivers nothing more than a well-made, strictly middlebrow entertainment with a bittersweet polish that's easy to enjoy and forget in equal measures.
  58. 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.
  59. The Act of Killing
    Playing make believe with murderers, Oppenheimer risks the possibility of empowering them. However, by humanizing psychopathic behavior, The Act of Killing is unparalleled in its unsettling perspective on the dementias associated with dictatorial extremes.
  60. Blue Caprice
    Moors isolates a well-known drama with the fleeting nonfiction prologue and explores it from the inside out: It's not an attempted reenactment, but it does aim to get at certain truths.
  61. Gimme the Loot
    A stitched-together combo of outlaw energy and bittersweet romance that gives the impression of Little Rascals in the big city. Like the graffiti art it documents, it's a lovingly handmade affair.
  62. I Killed My Mother
    Xavier Dolan's I Killed My Mother marks the emergence of an exciting new filmmaking talent. The Montreal actor, a mere 20 years old, displays a startlingly mature perspective on human behavior in his triple threat position as writer-director-star.
  63. Reality
    The reality-show aesthetic pervades the movie as well. Garrone's roaming camera style draws you into each moment with extreme close-ups and long takes that wander through each scene and get lost in it. Luciano's plight is crushing because Garrone renders it with such detail.
  64. Fruitvale Station
    Fruitvale is largely sustained by Jordan's career-making performance and the way Coogler uses it to analyze his subject...It's a fascinating investigation into the contrast between media perception and intimate truths.
  65. Evil Dead
    An ode to the strength of onscreen horror even in its less inspired state, the new Evil Dead primarily succeeds at illustrating how the originals have managed to stand the test of time.
  66. Much Ado About Nothing
    Call it a Shakespearean catharsis or just call it a lark -- either way, the movie represents Whedon's least essential work, regardless of the material's inherent comedic inspiration.
  67. Stories We Tell
    Stories We Tell marks the finest of Polley's filmmaking skills by blending intimacy and intrigue to remarkable effect.
    • 58 Metascore
    • 67 Critic Score
    Populaire
    The problem, as with most romantic comedies, is that there are no shocks in the story.
  69. At Any Price
    Too late, At Any Price displays the presence of a skilled filmmaker capable of using ambiguous pauses and representational imagery to convey the issues of greed and other covert desires. Until then, it's a slovenly affair only distinguished by its name cast.
  70. The Place Beyond the Pines
    That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
  71. The Sapphires
    Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.
  72. To the Wonder
    To the Wonder renders the familiar terrain of romantic dysfunction on a grand scale. Malick haters may not change their tune, but at least they can admit that To the Wonder maintains a consistent thematic focus.
  73. The Way, Way Back
    Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
  74. The End of Love
    There are powerful ingredients here, certainly enough to create a deeply felt work, but The End of Love lacks the additional layers of storytelling necessary for Webber to make the audience feel as close to the material as he does to his son.
  75. Ginger & Rosa
    A viscerally charged movie that foregrounds surface tensions and gripping performances, Ginger and Rosa is the filmmaker's most accessible and technically surefooted work to date.
  76. Beyond the Hills
    Mungiu's method creates the feeling of being submerged in a maze of confrontations and chatter, but the build-up gets so tiring that the concluding scenes come as a relief instead of a payoff.
  77. Frances Ha
    At times, Frances Ha strains from emphasizing the characters' snarkiness and disregarding plot. By routinely going nowhere, however, the movie eventually finds a distinctive voice that carries it through.
  78. Red Flag
    This could be a recipe for excessive self-indulgence, but the meta quality of Red Flag is entirely irrelevant to its low key charm and persistent irreverence -- anchored, as always, by Karpovsky's loopy screen presence.
  79. Rubberneck
    Rubberneck has more in common with the growing Karpovsky oeuvre than it may appear -- and even inadvertently critiques it.
  80. Simon Killer
    With a dense, often impermeable style and a mentally unstable protagonist, Simon Killer is like watching the disturbed anti-hero of "Afterschool" all grown up.
  81. The Grandmaster
    Intermittently action-packed and lethargic, the movie dances around formula. By delivering an expressionistic character study with bursts of intensity unlike anything else in his oeuvre and yet stylistically representative of its entirety, Wong practically has it both ways.
  82. Before Midnight
    Before Midnight is the rare cinematic achievement that implicates alert viewers in its mission to understand the mysteries of intimate connections.
  83. Like Someone in Love
    While not his best work, Like Someone in Love is a nimble expression of Kiarostami's appeal: He remains one of the few directors capable of pulling you into a narrative and making you question its motives at every turn.
  84. Side Effects
    The scenes pile up with frenetic intensity; as with Soderbergh's other recent exercises in the suspense genre, no single cutaway goes wasted.
  85. Upstream Color
    Upstream Color is routinely confusing but not oppressively so; its final exquisite moments explain little yet still manage to invite you in.
  86. Stoker
    More blatantly an exercise in style than anything on par with the director's crowning achievements, and suffers to some degree from the predictability of its premise.
  87. Somebody Up There Likes Me
    Byington excels at turning the edict that time waits for no one into a sensory experience. No matter how sly it gets, Somebody Up There Likes Me still retains that fundamental truth.
  88. Hors Satan (Outside Satan)
    The problem with Outside Satan is that the filmmaker has remained faithful to expectations without enlivening them. It's a curious exercise unworthy of his expertise, but then he may realize as much.
  89. Les Miserables
    Hooper's approach comes across as the equivalent of sitting in the front row of a stage play while the entire cast leans forward and blares each song into your eardrums.
  90. On the Road
    Overlong and unfocused in parts, Salles' adaptation nonetheless holds together about as well a movie can when the odds are so heavily stacked against it.
  91. Barbara
    The movie's stakes are alternately personal and political, but Petzold's skill truly comes into focus in the tense climax, when those two aims come together with a powerful act of defiance.
  92. Aquí y Allá (Here and There)
    It's incredibly uneventful and devastating all at once.
  93. Amour
    Although not exactly heartwarming, Amour has a more contained vision of human relationships than Haneke's previous films without sacrificing its bleak foundation. It's his most conventional movie about death -- and the most poignant.
  94. Save the Date
    This is still a pretty familiar journey that's easier to pity than hate -- much like Caplan's character.
  95. Convento
    By making the inanimate animate, they make nature come to life, and so does Convento.
  96. Django Unchained
    At times more in line with "Blazing Saddles" than the grimly bawdy qualities that define many bonafide oaters, Django Unchained erupts with a conceptual brilliance from the outset that never fully meshes with its clumsy storyline. Nevertheless, it's a giddy ride.
  97. Happy New Year
    Happy New Year provides a rare glimpse into the darker ramifications of war that rarely take center stage in the national dialogue. This struggle has nothing to do with political motives or tactical movements, but rather the battle to retain sanity against impossible odds.
  98. Promised Land
    Promised Land can't help but preach its cause in obvious ways that continually hold back an otherwise well-acted, swiftly paced drama.
  99. Tchoupitoulas
    Whereas "45365" took the form of a scattered collage, with disconnected events and a vast ensemble of characters stitched together to represent a year of activity, Tchoupitalas brings greater clarity to a similarly diffuse canvas by situating it around a trio of innocent observers.
  100. Hyde Park on Hudson
    The actor's pathos and deadpan skills are buried in the material, which also suffers from a continuous lack of inspiration. It's high-minded entertainment with low ambition.
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