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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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    • 70 Metascore
    • 50 Critic Score
    The Offence
    An interesting but not entirely rewarding inversion on Lumet’s continued study of law enforcement.
    • 93 Metascore
    • 100 Critic Score
    Late Spring (1949)
    It could, from premise alone, sound like an Austen-ish comedy of manners, and perhaps the film that Ozu might have made early in his career. Here, though, it’s an immaculate, gentle drama in which society gets in the way of the happiness of a father and daughter, and growing up and moving away isn’t so much a victory as a bitter cost of time and change.
    • 90 Metascore
    • 100 Critic Score
    Le Samouraï
    An elegantly stylized masterpiece of cool by maverick director Jean-Pierre Melville, 'Le samouraï' is a razor-sharp cocktail of 1940s American gangster cinema and 1960s French pop culture-with a liberal dose of Japanese lone-warrior mythology. [16 Aug 2017]
    • IndieWire
    • 49 Metascore
    • 91 Critic Score
    Conquest of the Planet of the Apes
    The Planet of the Apes films had always been political, but with Conquest of the Planet of the Apes, things got angry. And it was awesome.
    • 59 Metascore
    • 91 Critic Score
    Bedknobs and Broomsticks
    The script is tight and witty with sparks of sophistication. This is a film that, while never quite given the rightful place in the Disney canon it deserved, had a positive influence on many lives over the decades, including that of this writer.
  6. The Devils
    The 1971 epic offers a stylish and scathing parable about the dangerous ways that the powerful can exploit religious zeal to stay that way.
    • 74 Metascore
    • 83 Critic Score
    The Panic in Needle Park
    A portrait of two junkies in love—largely faded from memory, but it proves well worth revisiting.
  8. Two-Lane Blacktop
    Two-Lane Blacktop is primarily a mood piece, and Hellman wants the audience to be imbued with the uneasy feeling of living without any roots. It’s that feeling that’s elevates Two-Lane Blacktop far beyond genre trappings and into the heights of cinema.
    • 93 Metascore
    • 100 Critic Score
    McCabe & Mrs. Miller
    It’s among Altman’s greatest films because its grandest themes – the end of the Old West, the rise of modern civilization – come through in an intimate story, one that never reduces its characters to symbolic figures. Paired with Leonard Cohen’s mournful songs and Vilmos Zsigmond’s evocative, hazy cinematography, it’s the most emotional movie Altman ever made.
    • 61 Metascore
    • 58 Critic Score
    The Anderson Tapes
    Connery more than proved he could carry a movie away from 007, and the film remains pretty enjoyable, even if it’s an uneasy blend of the kind of gritty crime picture that Lumet would make his stock-in-trade, and the lighter caper flick so popular at the time.
    • 69 Metascore
    • 91 Critic Score
    Escape from the Planet of the Apes
    Escape from Planet of the Apes is, in fact, a superior film in many ways to the first, but is lacking that film’s freshness and originality. Still: an undeniable high watermark for the franchise.
  12. Original Cast Album: Company
    Pennebaker captures Sondheim’s eccentric perfectionism with a lovingly amused gaze, offering a rare glimpse of the notoriously private musical theater legend.
    • 46 Metascore
    • 50 Critic Score
    Beneath the Planet of the Apes
    The original Planet of the Apes is a hard act to follow, and Beneath the Planet of the Apes isn’t really up to the challenge.
    • 79 Metascore
    • 100 Critic Score
    Planet of the Apes
    A brilliant synthesis of story, theme, performance and innovation.
    • 71 Metascore
    • 83 Critic Score
    Seconds
    Frankenheimer’s 1966 riff on identity (and lack thereof) and corporate paranoia is one of his most unnerving, claustrophobic and entertaining efforts.
    • 98 Metascore
    • 91 Critic Score
    Au hasard Balthazar
    Through Bresson's unconventional approach to composition, sound, and narrative, this simple story becomes a moving parable about purity and transcendence. [16 Feb 2018]
    • IndieWire
    • 67 Metascore
    • 83 Critic Score
    The Cincinnati Kid
    It still stands up as a solid little poker movie, setting up the template for many imitators to come.
    • 83 Metascore
    • 91 Critic Score
    From Russia with Love
    From Russia With Love has two of the sexiest images I’ve ever seen: the opening credits with the names projected on belly dancers’ writhing, whirling bodies, and the scene where a bare-chested, towel-clad Bond enters his bedroom and finds Tatiana Romanova in his bed. Images like that aren’t cute. They’re primordial.
    • 83 Metascore
    • 100 Critic Score
    The Naked Kiss
    The kind of film you feel you need to shower after seeing, it just might have been Fuller’s finest hour.
    • 61 Metascore
    • 75 Critic Score
    The Sword in the Stone
    At first glance, you might have expected the film to be a grand epic with some comedy. Instead, it’s largely a comedy with some serious moments.
    • 93 Metascore
    • 100 Critic Score
    8½
    One of the best films ever made about filmmaking, it’s simultaneously critical of its director’s self-importance and childishness and celebratory of the possibilities of the medium.
    • 55 Metascore
    • 75 Critic Score
    Babes in Toyland
    While this film definitely does not gain points for female empowerment, it can still be fun for kids with toy soldiers coming to life, a shrinking machine and a multitude of Mother Goose characters, including Little Bo-Peep and Willie Winkie.
    • 82 Metascore
    • 83 Critic Score
    The Sundowners
    A remarkably effective and absorbing picture (if a little too long), with another sterling performance from Mitchum.
  24. The Hidden Fortress
    The Hidden Fortress is a bracing adventure in its own right — not a frivolous outlier from one of cinema’s most formative oeuvres, but rather a Cervantes-inflected delight that complicates and enriches Kurosawa’s signature humanism by exploring the value of morality in an amoral world.
    • 88 Metascore
    • 100 Critic Score
    Wild Strawberries
    The story now sounds like fodder for a rote “old codger learns to like people” narrative, but Wild Strawberries is more about a man’s gradual coming to terms with who he was, who he is, and what he’s leaving behind.
    • 76 Metascore
    • 83 Critic Score
    Witness for the Prosecution
    Billy Wilder’s trademark sardonicism lends welcome bite and wit to this twisting, turning murder mystery from Agatha Christie.
    • 75 Metascore
    • 100 Critic Score
    It's Always Fair Weather
    One of the most unique and honest musicals of the 20th Century.
    • 93 Metascore
    • 100 Critic Score
    The Band Wagon
    Arthur Freed and Comden & Greene’s timeless classic is the musical for people who don’t like musicals: so clever, so witty and so brilliantly executed that the usual objections to musical numbers “stopping the story” don’t apply.
    • 78 Metascore
    • 83 Critic Score
    On Dangerous Ground
    The Bernard Hermann score adds another dimension.
  30. Gun Crazy
    It’s a B-film with a heart of gold, even if that heart was probably stolen.
    • 87 Metascore
    • 91 Critic Score
    Adam's Rib
    Despite Cukor’s rocky start with the couple, Hepburn and Tracy are in top form in Cukor’s sophomore collaboration, the 1949 courtroom comedy Adam’s Rib.
    • 96 Metascore
    • 91 Critic Score
    Red River
    In Red River, the destination of life’s long cattle drive is never more specific than “somewheres.” The lines marked on the map are just stops along the way.
    • 66 Metascore
    • 67 Critic Score
    Fun & Fancy Free
    A modest, nicely executed diversion, with a slim, not especially memorable story.
    • 80 Metascore
    • 83 Critic Score
    Brute Force
    As it successfully delves into the baser instincts of men from all sides, imprisoned either by their thirst for power or their unwillingness to give up, few films can compare.
    • 69 Metascore
    • 100 Critic Score
    The Man I Love
    Walsh sends about a half-dozen plot lines, styles, and themes into the air and keeps them all whizzing along like a master plate spinner, but he makes it look effortless — you never feel the director straining for his effects, all seamlessly integrated into 96 smooth minutes.
  36. Brief Encounter
    David Lean’s Brief Encounter captures love at its most ephemeral.
  37. The Miracle of Morgan's Creek
    One of the most demented studio comedies of the 1940s.
    • 61 Metascore
    • 75 Critic Score
    Keeper of the Flame
    Watching the couple embroiled in a drama that’s less romp and more mystery is a worthy treat for any Hepburn/Tracy fans.
  39. Mrs. Miniver
    An increasingly loud world may have made the quiet truths of "Mrs. Miniver" seem small - tune out the noise and hear what this film is saying. It's a roadmap for how dignity and freedom can survive.
    • 86 Metascore
    • 100 Critic Score
    To Be or Not to Be
    [A] magnificent film.
  41. Sullivan's Travels
    A satire that chastises Hollywood for its blinkered moralizing yet espouses on the value of escapism, Preston Sturges’ “Sullivan’s Travels” may seem like a film rife with contradictions, but not only is it cohesive, it never once feels muddled or, worse, didactic.
    • 74 Metascore
    • 100 Critic Score
    Woman of the Year
    The film is an exuberant, endearing triumph, setting a standard for wit and energy that defined Hepburn and Tracy’s partnership for a quarter of a century to come.
  43. Suspicion
    The ending has often been maligned. But if it’s not especially well-executed, it’s a tantalizing wellspring of ideas that reframes the entire movie that came before it and makes us realize the difficulty all of us face in piecing together our reality.
  44. Hold Back the Dawn
    [Wilder] delivered one of the finest critiques of a pre-war, isolationist U.S. committed to “America First.”
  45. The Sea Wolf
    Curtiz was a master of all genres but The Sea Wolf is his best. Darkly flirting with the noir genre that would capture the decade, there's so much tension and hostility, secrets and lies that permeate the ship. Ida Lupino has never been more beautiful as the criminal attempting to rewrite her past.
    • 63 Metascore
    • 83 Critic Score
    Mr. & Mrs. Smith
    What makes the film compelling is the fact that even though Norman Krasna’s script contains no friction between the needs of the genre and the impulses of the characters, Hitchcock creates it anyway.
    • 89 Metascore
    • 83 Critic Score
    Foreign Correspondent
    Foreign Correspondent hasn’t been as well remembered as some, but those who seek it out will discover a fun and highly entertaining picture awaiting them.
  48. The Grapes of Wrath
    There is a magnificence to The Grapes of Wrath in the breadth of its ambition, which still makes it the definitive cinematic take on one of America’s most defining epochs.
    • 91 Metascore
    • 91 Critic Score
    Frankenstein
    Whale’s direction nods to German Expressionism — the Escher-like dimensions of Dr. Frankenstein’s laboratory, the off-kilter camera angles, the long-armed shadows that extend over characters’ faces. Yet something softer anchors the film: sorrow.
    • 58 Metascore
    • 67 Critic Score
    Distance
    There are a succession of physically arresting images, though the movie is frustratingly opaque, too emotionally diffuse to capture a necessary nuance and depth of expression. In never quite finding a vital rhythm or shape, Distance is a work more easily admired than genuinely appreciated.
  51. Check It
    Check It is a powerful and electrifying film, full of characters who exude wisdom, authenticity, and bravado. Their lives beg telling, but this is only half the story.
  52. I Love You, Daddy
    As a whole, I Love You, Daddy belongs to C.K.’s own peculiar aesthetic, in that it’s brilliantly calibrated to captivate viewers and make them recoil at the same time.
  53. Mektoub, My Love: Canto Uno
    “Mektoub, My Love” is never about anything more than its own style.
  54. August Winds (Ventos de Agosto)
    Ventos de Agosto presents such an extraordinary portrait of rural life that its textures often overwhelm the narrative.
  55. Eva
    For a film with so few secrets of its own to hide, Eva also offers little to see on the surface.
  56. Utoya: July 22
    The film has the power to make our bodies catch up with our hearts — the power to help us safely experience the kind of terror we need to remember in a way that makes it impossible for us to forget.
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