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For 5,184 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: 3,581 out of 5184
  2. Mixed: 1,336 out of 5184
  3. Negative: 267 out of 5184
5184 movie reviews
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  1. Apostle
    By the time Apostle arrives at its big reveal, the movie has veered off on so many tangled pathways that the ending can’t resolve them all. Instead, it provides a single, ethereal image that hints at the more imaginative possibilities lurking somewhere inside this bloody mess.
  2. We Are the Flesh
    For every moment of sick visceral genius (e.g. whenever Hernandez or Evoli are left to their own devices), there’s another of clumsy metaphor (e.g. the limp punchline of the movie’s final minutes).
  3. Eric Larue
    Playwright and frequent Shannon collaborator Neveu adapted his own play for the screen, and Shannon’s sensitive direction makes Eric LaRue a haunting, standout film with a career-best performance from Greer.
    • 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.
  5. 2 Days in New York
    Even when it stumbles, however, 2 Days in New York retains an airy vibe, reflecting its dogged intention to charm its viewers. But seeing as "2 Days in Paris" never felt especially irksome, this affable sequel deserves the same insouciant shrug.
  6. Words on Bathroom Walls
    Eager to split the difference between age-appropriate entertainment and raw honesty, Words on Bathroom Walls hedges a bit in its final act, delivering the kind of happy ending only seen in movies . . . while slyly resisting tying things up in a neat bow.
  7. Trollhunter
    The Troll Hunter offers high-caliber entertainment despite a low-budget production.
  8. How to Train Your Dragon
    No one needs a live-action remake, but ones this faithful and sweet are not the problem.
  9. Wrecked
    Brody's engagement with the material prevents Wrecked from falling apart.
  10. This Is Everything: Gigi Gorgeous
    Gigi is an invaluable role model to young trans people in her ferocious courage and undeniable fabulousness, but the film is little more than a celebration of that.
  11. August 32nd on Earth
    August 32nd on Earth takes way too long to get going, but the chemistry between its leads helps things along. More than anything, however, it’s the incredible economy of Villeneuve’s images that keeps things together, his shots becoming tighter and more expressive as the story falls apart.
    • IndieWire
  12. We Bury the Dead
    For a movie about stinking, bloated corpses, on the whole, this one is surprisingly fresh.
  13. Margaret
    Artistically, however, the movie delivers on a surprisingly effective scale, no matter how Lonergan sees it. Alternately perceptive, subversive, tragic and profound.
  14. Copshop
    Grillo and Butler may be on the marquee but it’s Louder’s movie. And what’s being marketed as a clash between the two brutes is actually a showcase for the actress, who exudes a natural badassery.
  15. The Inevitable Defeat of Mister and Pete
    While not without its touching moments, "Mister and Pete" is inevitably defeated by its own good intentions.
  16. Rosaline
    Played by Kaitlyn Dever, this Rosaline is very mad indeed (why shouldn’t she be?), but the always-winning actress helps guide a prickly footnote into delightful territory. One part coming-of-age tale, one part literary reconsideration, and all totally fun, Rosaline proves there’s still plenty to mine from the classic canon, with lively twists.
  17. Good Fortune
    In the end, Good Fortune left me skeptical and uneasy, wondering whether the people it depicts with such lightheartedness will only feel objectified instead.
    • 61 Metascore
    • 42 Critic Score
    He Named Me Malala
    It's a shame that Guggenheim's slickly produced documentary examines such an important and fascinating story with such underwhelming results.
  19. WeWork: Or the Making and Breaking of a $47 Billion Unicorn
    The film ultimately suffers from an overfamiliarity in not just construction but content; the “WeWork” documentary paints a broad portrait of what happened without expanding on (or even including) details that made previous exposés so juicy.
  20. Land
    While Wright, making her feature directorial debut with tough material, exhibits an appealing unfussiness, so much of Land is painful not for its subject matter, but because of its predictability.
  21. Headshot
    It’s always a shame to watch something so jaw-dropping start to feel stale, but Headshot is much easier to enjoy if you think of it as a good excuse for Uwais to stay in shape so that he’s ready for the movie that turns him into a household name.
  22. White Fang
    When White Fang focuses on its real stars — animals, Alaska, the spread of untamed country — it’s as visionary as any animated film. Placed alongside ham-fisted humans, it loses its power.
  23. Horse Girl
    Brie’s delicate performance nearly rescues both Sarah and “Horse Girl” from falling into the awkward traps it sets for itself, hedging on the tough stuff in favor of weirdness for its own sake, faux-arty style over anything that could offer the slightest interest in healing, for either its star or her story.
  24. The True Adventures of Wolfboy
    Director Martin Krejcí’s first feature has the fairy-tale surrealism and penchant for oddball outsiders that distinguished Burton’s work, as well as a similar lighthearted quirkiness that balances the undercurrents of gothic dread.
  25. Americana
    Tost’s film is charming, gritty, and all-round entertaining one that boasts gallows humor, compelling performances, and a big heart (plus lots of actual hearts being shot at and stabbed).
  26. The Hero
    With Elliott front and center of every scene, The Hero pulls off the kind of acting showcase that its fictional star can never achieve.
  27. Funny Face
    As with all of the director’s previous work, Funny Face is electric and moribund in equal measure, the simplicity of its story obscured by the opacity of its telling. The film is so unformed that it feels like its shots might disassociate from each other at any moment, but also so unsubtle that its script could’ve been sky-written over Brooklyn.
  28. Super Size Me 2: Holy Chicken!
    Spurlock’s quest to put Chick-fil-A out of business is always entertaining — the filmmaker is still a charming and quick-witted man of the people, and his shtick has aged much better than Michael Moore’s — but if “Super-Size Me 2” isn’t quite as funny as the first installment, it’s considerably more horrifying.
  29. In Your Dreams
    While the moral comes through loud and clear, that’s largely because the film’s bland depiction of slumberland isn’t a fraction as well-realized — or even as fun! — as its portrayal of the middle-class disillusionment that sends its young heroes scrambling into their subconscious’ every night.
  30. Unpregnant
    Bolstered by winning, real performances from its leads, Unpregnant will delight as much as it stings, a sterling reminder of how many stories about this very subject are still demanding to be told.
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