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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. Sword of Trust
    The movie’s lightweight plot yields a disposable comedy with a lot on its mind, but its modest ambition is just enough to let Maron push his onscreen appeal in a new direction.
  2. Us
    A brilliant home-invasion thriller laced with cultural reference points stretching back to the late ’80s, and a smorgasbord of first-rate visceral cinematic scares. Think “Funny Games” collided with Cronenbergian body horror and Hitchockian suspense, and you’re maybe halfway there.
  3. An Elephant Sitting Still
    Hard to sit through and impossible to forget, this torpid four-hour anti-drama is suffused with the sort of hopelessness that cinema only sees every once in a long while .
  4. The Kid
    A diverting Western that’s almost worth seeing for the unsaddled performances that director Vincent D’Onofrio gets from his cast, The Kid only makes a few small adjustments to the dustiest of American genres, but these errant wrinkles — a far cry from any serious revisionism — provide much of the fun.
  5. Triple Frontier
    Triple Frontier lands a handful of thrilling sequences in a sea of familiar riffs on greed, masculinity, and the lingering traumas of war.
  6. Captain Marvel
    As generic and retrograde as “Black Panther” was specific and revolutionary, Captain Marvel is a frustrating disappointment at a time when every inclusive blockbuster is fought over as though it could be the decisive battle in our never-ending culture wars.
  7. Tyler Perry's A Madea Family Funeral
    Rather than going out with a bang, however, the final installment in the franchise hinges its loose plot around the marital infidelities of younger, humorless characters so thinly sketched that it is impossible to care about them.
  8. Woman at War
    Erlingsson has created a winsome knickknack of a movie that manages to reframe the 21st century’s signature crisis in a way that makes room for real heroism.
  9. Water Makes Us Wet: An Ecosexual Adventure
    In making Water Makes Us Wet, the filmmakers have embarked upon the noble pursuit of moving people to care about climate change as if their lives — and their sex lives — depended on it.
  10. The Wedding Guest
    As a spare and sexy thriller, Michael Winterbottom’s “The Wedding Guest” is far too undercooked; there’s little flavor, and even less to chew on. As an audition for its star to be the next James Bond, however, this aimless Dev Patel vehicle is virtually perfect.
  11. Styx
    A blunt, breathless, and astoundingly unsentimental morality play that’s told with the intensity of a ticking-clock thriller, Wolfgang Fischer’s Styx is every bit as ominous as its title suggests, and far less fanciful.
  12. The Competition
    What The Competition considers a deliciously exciting rite of passage, viewers might interpret as a kind of cultural rot. The truth likely falls somewhere in between, as Simone’s documentary is too gripping to be dismissed, and too queasy to be accepted.
  13. Hail Satan?
    Lane has an unmatched ability to strike the right balance between anger and absurdism, and frames the Temple in a revelatory moral light.
  14. 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.
  15. Goldie
    The fact that Woods has already made it (and with an incarcerated mother of her own) only adds to the perfection of her casting; even without the meta elements, which underline the extent to which America’s disenfranchised look to pop culture as a pipeline to salvation, her performance is beautifully expressive and open to the world.
  16. Temblores
    There are any number of movies about gay men trying to liberate themselves from the long shadow of heteronormative oppression — a regrettably, enduringly relevant premise — but few have been told with the extraordinary nuance or compassion of Jayro Bustamante’s Tremors.
  17. Varda by Agnès
    Watching the 90-year-old filmmaker pick through the scrapheap of her own memories and fashion the bits into a fresh perspective on the relationship between reality and representation, stillness and movement, life and art, it seems that Varda has become something of a gleaner, herself.
  18. Synonyms
    Lapid’s film is too fresh and intransigent to know how well it will age over time or hold up to repeat viewings, but on first blush it feels like a powerful howl that’s hard to hear clearly, and harder still to get out of your head.
  19. Out Stealing Horses
    The madeline-like specificity of this memory-driven story is its greatest strength, even if it relies on a rusty structure of nested flashbacks in order to reach the past.
  20. Mr. Jones
    Mr. Jones is stymied by the clarity of its hero’s crusade. Exasperatingly scattershot for most of its long running time, this restless and misshapen film suggests its director’s nagging discomfort with a straightforward history lesson.
  21. Light of My Life
    Light of My Life delivers a lush variation on familiar elements, and wends its way to a tense final showdown that makes the wandering trajectory worthwhile.
  22. The Kindness of Strangers
    While the movie works to depict how kindness breeds kindness, even in the cruelest of environments, it spends much of the time watching its motley collection of lost souls chase their own tails.
  23. The Golden Glove
    For better or worse, Akin’s eye remains a remarkable thing, as he arranges even the most emptily nihilistic parts of The Golden Glove with the gravitas of arresting visual geometry, and casts every role to sick perfection. It’s just his vision that seems to be the problem.
  24. Ghost Town Anthology
    Ghost Town Anthology lacks the human touch it needs to satisfy beyond its symbolism, but if Côté’s 96-minute curio takes far too long to thaw, it’s never more spookily enthralling than in its final moments.
  25. Fourteen
    When lifetimes of latent drama come home to roost in the surprisingly eventful final scenes, Fourteen builds to an unsparingly lucid assessment of what two friends can take from — and carry for — each other.
  26. Driveways
    Without a singular galvanizing conflict to focus the plot, Driveways feels more like a collection of character studies than a cohesive whole.
  27. By the Grace of God
    A thoughtful, fast-paced, and immaculately acted procedural that unfolds with the urgency of a newspaper deadline, By the Grace of God zips through the facts of this horrid case, while also shaping them into a lens through which to examine the uneasy relationships between mercy and justice — between faith and the flawed institution that exists to preserve it.
  28. Donnybrook
    Sutton’s tricky balance of B-movie caricatures and gloomy expressionism doesn’t always match up, but that very discordance speaks to the potency of its themes.
  29. Happy Death Day 2U
    When it works, it’s never better than a loving retread of the pleasures of the first film; when it doesn’t, it’s a head-scratcher of the highest order, a film that exists to push forward a franchise that seems to have already lost its way.
  30. Isn't It Romantic
    Every trope, twist, and trick of the genre is up for skewering in the comedy, but the film keeps things light and smart, never dipping into darkness or crass jokes. It’s funny because it’s clever, but it’s also never cruel.
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