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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. On the Basis of Sex
    On the Basis of Sex plays like a sunny fantasy from a more optimistic age.
  2. Fantastic Beasts: The Crimes of Grindelwald
    As impressive as the final showdown is (it’s easily one of the most impressive setpieces in this fledgling franchise) and as shocking as the film’s closing revelations are (yes, they really are), this magic needs a spell of its own.
  3. Meow Wolf: Origin Story
    While the particular brand of art that Meow Wolf crafts isn’t for everyone — audiences uninterested in participatory experiences may very well be turned off by the film’s synopsis alone — the story at the heart of “Origin Story” is universal.
  4. The Grinch
    Bad as this movie can be, there are far worse things in our world than a story about the value of love and kindness, and the joy of sharing those things with those who may never have known them before (kudos to Cumberbatch, who sells the climactic transformation).
  5. Maine
    Unformed but deeply understanding, this super lo-fi two-hander is too sketchy to sustain itself all the way to the Pine Tree State, but it finds all sorts of promise along the way.
  6. The Nutcracker and the Four Realms
    For a movie with so much stuff to look at, the only things you really see during The Nutcracker and the Four Realms are all of the recent movies that it’s flagrantly trying to recycle.
  7. Life and Nothing More
    Life and Nothing More may be shot with the unblinking attention of Frederick Wiseman’s films — and share their same broad scope of concerns — but it’s always true to the tenderness of its title.
  8. 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.
  9. Stan & Ollie
    Stan & Ollie salutes an under-appreciated comedy duo while exploring the hardships of fading into the limelight; appropriately, the movie itself is rather forgettable even as the actors deliver brilliant performances in every scene.
  10. Bohemian Rhapsody
    The critical failure of Bohemian Rhapsody is that, 134 minutes after the lights go down, the members of Queen just seem like four blokes who’ve been processed through the rusty machinery of a Hollywood biopic.
  11. On Her Shoulders
    If On Her Shoulders struggles for an ending, perhaps that’s because we have to supply our own. People like Nadia can’t fix the world, but this vital documentary is proof that it’s heroic enough just to be heard.
  12. Caniba
    Sagawa is disturbed and alienated, but that doesn’t make him a compelling documentary subject in and of itself. Maybe that’s the point: Demystifying Sigawa takes away some of the near-mythic power that’s been attributed to him over the years.
  13. The Night Comes for Us
    The Night Comes for Us is an alternately giddy and exhausting ordeal — a film that somehow manages to squeeze in way more plot than it needs, but not enough to make you care about who’s kicking who, let alone why.
  14. Hunter Killer
    Even among Gerard Butler vehicles, this one sinks right to the bottom.
  15. They Shall Not Grow Old
    Wearing its sincerity like an Armistice Day poppy, the resulting montage-film – which premiered at the London Film Festival ahead of future TV transmissions – does its utmost to honor the conflict’s fallen.
  16. Galveston
    It takes far too long for Galveston to emerge from the novocaine of its various clichés and allow us to feel the tender flesh that bleeds across every scene of this seedy road noir, but — in fairness to director Mélanie Laurent — some filmmakers are never able to break the leathered skin of a Nic Pizzolatto story.
  17. Watergate
    The parallels between Watergate and Trumpocalypse are so boggling that they preclude any other reason for why Ferguson chose to make this film now. And yet, it’s the film’s deliberate timing that calls its value into question.
  18. A Private War
    A Private War resolves as such an effective memoir because even in its most clichéd moments — of which there are many — it resists easy psychoanalysis.
  19. Johnny English Strikes Again
    While the gentle mediocrity of it all is somewhat charming at first — even with such tired material, Atkinson is still a reliably sweet and well-intentioned screen presence — it doesn’t take long for the film to wear out its welcome.
  20. Goosebumps 2: Haunted Halloween
    The creativity may be lacking in other areas, but “Goosebumps 2” steps up the creature feature quotient with style and smarts.
  21. Hotel by the River
    The relatively gentle, meditative, and straightforward Hotel by the River is like everything and nothing that Hong has made before; to say that it’s “just another Hong” movie is an accurate way of emphasizing what makes it special.
  22. Diamantino
    Part B-movie spoof, part handcrafted satire, and always driven by a genuine vision for a better tomorrow, Diamantino is like looking at today’s Europe through a funhouse mirror, and somehow seeing it more clearly as a result.
  23. Maria by Callas
    Entirely composed of archival newsreel footage, performance recordings, and rare interview excerpts from when the great “diva” sat down with journalist David Frost in 1970, the film unfolds like a second-hand sketch of a phantom who continues to haunt its director.
  24. Sadie
    Schloss compellingly combines the rangy wildness of hormonal teenagehood with Sadie’s more terrifying instincts, toeing the line between pissed-off teen and possible psychopath with ease. Her Sadie is both brutally dead-eyed and weirdly charismatic; you simply can’t turn away from her, even when you really, really want to.
  25. Studio 54
    Studio 54 isn’t an especially clever or innovative film, but it taps into its namesake’s dormant spirit, and reclaims a famous piece of Manhattan folklore for the people who made it possible.
  26. Venom
    This leaves the viewer with two choices: reject the parasite or let it take you over. Fight it off and you’ll have a bad time; become one with it and you may achieve a kind of symbiosis.
  27. Hell Fest
    A generous reading suggests that its vaguely feminist subtext is intentional rather than a happy accident, and to some extent it may well be, but for the most part Hell Fest simply adheres to long-established genre tropes.
  28. Bad Times at the El Royale
    The more that Goddard upends our assumptions about who’s good, who’s bad, and who’s going to live through the night, the more we realize that we’re rooting for all of these fucked-up people to get right with the world. It’s massively didactic, but in a way that encourages us to dwell on how we feel about these characters, and how malleable those feelings are.
  29. Tyrel
    Tyrel establishes its intentions within the opening minutes, and more or less follows a straightforward trajectory in its trenchant exploration of race relations.
  30. Little Women
    While there’s certainly room to explore Alcott’s biggest themes in the lives of modern women, here the results feel more hammy than revelatory.
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