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For 5,190 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: 3,584 out of 5190
  2. Mixed: 1,338 out of 5190
  3. Negative: 268 out of 5190
5190 movie reviews
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  1. Strange Journey: The Story of Rocky Horror
    Anyone who lives, breathes, and bleeds “Rocky Horror” will find comfort in “Strange Journey” and its celebration of the musical’s enduring legacy. Anybody else won’t find much to grab onto.
  2. The Love That Remains
    Pálmason’s overall sincerity has its dividends, even for what it lacks in candidness: the poignant closing shot distills that this is his vision on this eternal topic, open to the risk that its alternating visual modes won’t harmonize.
    • 75 Metascore
    • 67 Critic Score
    The State Against Mandela and the Others
    Audiences may find the filmmakers’ approach more compelling than the film itself.
  4. Free Chol Soo Lee
    If the film gives us hope for anything, it’s that such a miscarriage of justice can never happen again — and if it does, many will be there to answer the call.
  5. The Snowtown Murders
    The Snowtown Murders manages to become a compelling exercise that excels at making horrible acts look shockingly listless.
  6. The Supremes at Earl's All-You-Can-Eat
    It’s easy to get caught up in the lives and loves of the Supremes, and the warm-hearted spirit of the entire endeavor is contagious. We just wish there was a bit more time to savor it all.
  7. Maestro
    As a study of how the Bernsteins’ near-three-decade marriage endured Lenny’s gayness and genius, Maestro succeeds off the chemistry between Mulligan and Cooper, but the film often looks and feels too fussed-over, almost too precisely manicured, to ever erase its own parameters as a linear biopic.
    • 60 Metascore
    • 67 Critic Score
    The Good Son: The Life of Ray "Boom Boom" Mancini
    The Good Son is Mancini’s mea culpa memoir; a grand act of self-vindication that succeeds because the boxer is sympathetic and asks respectfully for forgiveness and absolution.
  9. 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.
  10. Lyle, Lyle, Crocodile
    Along with a few bouncy numbers from “The Greatest Showman” duo Benj Pasek and Justin Paul, Bardem is the driving force behind “Lyle,” and the train loses major steam without its kooky conductor.
  11. Black Box
    Black Box won’t galvanize audiences like “Get Out” into rethinking the way society interacts with itself. But it’s just shrewd enough to question how we interact with ourselves.
  12. Maya Angelou: And Still I Rise
    Angelou’s life and work was rich, significant, influential and hugely varied, and yet “And Still I Rise” is hobbled by unimaginative delivery and direction. In short, it’s limited, and Angelou’s own history proves that limitations must be fought against at every turn.
  13. Driving Madeleine
    While each flashback gets more and more grating, Line Renaud’s charm makes the present an increasingly welcoming place to return to.
  14. Nanny
    The first-time filmmaker may be attempting to fit too many ideas into one sleek package, but that doesn’t mitigate the truth of "Nanny": All of it haunts.
    • 68 Metascore
    • 67 Critic Score
    Limbo
    Though it’s admirable that Sayles shows so much ambition to change his style and to give his film such a weight of unpredictability, he doesn’t really succeed at matching the depth of the film’s first half.
  16. Tracktown
    It’s a coming-of-age tale for the stunted set, and one that deftly navigates conventions at every turn. Although Tracktown lacks edge, it’s just so relentlessly sweet and Pappas is so effervescent on screen that those missteps in tone are easy to forgive.
  17. To Be Takei
    Takei is a natural storyteller who lends an enjoyable flow to the movie’s uncomplicated proceedings.
    • 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.
  19. The Spine of Night
    Even if The Spine of Night struggles to align its overarching story with the anthology-like shape that it takes, it’s still rare and rewarding to watch a film that makes so few bones about what it wants to be.
  20. 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).
  21. The Divine Order
    The Divine Order is as milquetoast as these things get, but Volpe’s film finds real value by emphasizing process over politics, by glossing over the eventual vote in favor of knuckling down on how one act of courage can spark a blaze that’s big enough to burn the whole system to the ground.
  22. A Prayer Before Dawn
    Jean-Stephane Sauvaire’s film is not so much the story of a fighter as it is a story that wants to fight you.
  23. The Lost City
    The Lost City might not be as majestic or breathtaking as its loftier influences, but it is the swooning stuff that great romance novels are made of.
  24. Sully
    With Tom Hanks appropriately cast as good-natured Sully, Eastwood delivers an earnest, straightforward look at the way the captain’s professionalism saved the day. But while that aspect of the movie hits more than a few obvious notes, the crash is the real star of the show.
  25. Everything, Everything
    It may not break the mold in many ways but one, but the impact of that one is far from trivial.
  26. Keanu
    Wildly entertaining in parts, Keanu overstays its welcome and just keeps going, showing the growing pains of sketch comedy drawn out to epic proportions.
  27. The Secret Life of Pets
    Moves like a bat out of hell from frame one, though if you’re looking for any kind of emotion you might be barking up the wrong tree.
  28. Doctor Strange
    As with all of the best installments of the MCU, the film’s unique strengths have a perverse way of highlighting the franchise’s shared weaknesses. But Doctor Strange deserves credit for treating several of the ailments that have been infecting the series, and for diagnosing several more.
  29. Nuisance Bear
    Documentaries should inherently spark questions and debate, but Nuisance Bear too often throws out a buzzword or heady topic and abandons it.
  30. Mike & Nick & Nick & Alice
    Grabinski’s writing style is goofy and (obviously) reference-heavy, and the jokes spray indiscriminately like so many bullets from an automatic weapon. The constant wisecracks get tiresome after a while, but not before introducing some clever gags and quotable quips.
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