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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. Mr. Malcolm's List
    Jones and Allain’s vision of how we might reinterpret this sort of story for the big screen — including assembling a cast of people who are charming to watch, full stop — is both vital and delightful, and if it has some kinks to it, perhaps that’s just the price of trying something new.
  2. Old Stone
    Too obvious and haphazard to boil over with the full caustic fury of its premise, Old Stone is nevertheless a bluntly effective thriller that makes great use of its gritty noir touches.
  3. The Actor
    Cuttingly funny at times, The Actor isn’t much interested in answering any of those questions, but this semi-inert death trip of a film teases a certain pull from its cosmic uncertainty.
  4. The Accidental Getaway Driver
    The problem is that, after that early peak of a first act, The Accidental Getaway Driver doesn’t have much tension.
  5. Becoming Cousteau
    Garbus takes the standard documentary route of examining Cousteau’s life from birth to death, and while individual elements of his life are compelling in the first half, the documentary seems to come alive more towards its second half. Maybe that’s because Cousteau was just doing so much toward the latter half of his career, but the pacing seems to feel livelier the closer things get to the end.
  6. Stephen Curry: Underrated
    Curry has had a fascinating past two decades, something that “Underrated” does an effective job of capturing. But in harnessing what was always there in full view, there’s not much else here to add.
  7. Hollywood Stargirl
    Hollywood Stargirl, for all its charm, doesn’t quite hang together as a complete story. It feels like an episode, a vignette, a tiny slice of Stargirl’s remarkable life suddenly turned into a filmmaking parable she’d likely balk at.
  8. El Conde
    El Conde isn’t big on subtlety (Lachman’s rich cinematography offers the film its only shades of gray), and so it feels like a missed opportunity that Larraín didn’t squeeze more juice from the all-too-relevant fact that deposing a fascist from power isn’t the same as defeating them.
  9. Havoc
    Rote as Evans’ plot might be, and wasteful as its treatment of certain characters definitely is . . . he has a well-developed ear for ice-cold gangster speak, and he isn’t afraid to make people pay a steep price for their penance. It’s enough to forgive him — and/or the movie gods — for making us wait so long to see him do it again.
  10. The Spy Who Dumped Me
    One of those late-summer releases that’s just good enough to make you wish it were better, The Spy Who Dumped Me aims to please every step of the way, but it never earns the nearly two-hour running time.
  11. Money Monster
    Foster's suspenseful treatment of the material is fun to watch but not the dramatic statement its blaring tone would suggest.
  12. Zeros and Ones
    Zeros and Ones isn’t much of an entertaining sit — watching it feels like dusting off a cryptic artifact from a bygone civilization, its pleasures more archaeological than anything else — but every frame of this weird soup is suffused with the restless creative spirit of someone who’s been waiting for a new world order, and recognizes that we only get so many chances to make it happen.
  13. Popstar: Never Stop Never Stopping
    Watching “Popstar,” there’s no getting around one stubborn truth about this frequently hilarious movie: The incident that may have inspired it was also the incident that rendered it unnecessary.
  14. Me Before You
    Me Before You is such a wonderfully uncynical movie that it almost doesn’t matter that it isn’t very good.
  15. California Schemin'
    It’s fun enough at first, thanks to McAvoy’s energetic direction and strong turns from its young stars.
  16. Cocaine Bear
    The blatantly ridiculous appeal of “Cocaine Bear” is proof enough that the project isn’t lacking in self-awareness, but to what end? It’s not unhinged enough to qualify as full-blown parody, and not smart enough to be called satire. Banks seems uninterested in directly referencing exploitation movies of the past, or in burying winking cultural critiques within the outlandish action. Maybe that’s too much to ask from a movie called “Cocaine Bear.” Like its title, what you see is what you get.
  17. A Million Ways to Die in the West
    In A Million Ways to Die in the West, MacFarlane loads up enough zaniness to make for a generally enjoyable mashup, particularly because the genial plot affords him a solid backdrop.
  18. The Painter and the Thief
    Intimate and involving as it can be, The Painter and the Thief increasingly leaves the impression that Kysilkova and Nordland are holding something back.
  19. 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.
  20. The Wild Goose Lake
    The musicality of Diao’s cinema has never been more symphonic, but it comes at the expense of his ability to properly conduct this script.
  21. Family Romance, LLC
    While the movie’s rough production values and meandering plot never quite gel, Family Romance, LLC is a fascinating convergence of filmmaker and subject, providing the rare opportunity for Herzog to bury his observations in the material at hand.
  22. Nancy, Please
    Paul's increasingly hectic attempts to retrieve the book dominate the movie so heavily that it leaves little room for considering how this effort fits into the rest of his world.
  23. The Perfect Candidate
    The Perfect Candidate can feel sedate and disjointed as a broad portrait of empowerment, but this is nothing if not a movie of its time, and it sings — sometimes literally — whenever it hones in on the unique struggle through which Saudi Arabian women might seize upon this historic moment.
  24. A Compassionate Spy
    If A Compassionate Spy is oddly dispassionate for a documentary so attuned to the humanistic inner-workings of history in progress, the film can’t help but find a measure of beauty in the unspoken trust that Ted and Joan placed in one another.
  25. The Little Sister
    Together, Melliti and Herzi find a rare alchemy between actor and director telling someone else’s story, but one that may turn out to be a bit of each other’s own.
  26. Now You See Me: Now You Don't
    The crime-fighting? That’s nice, but the real fun is in the bonding, most of it at the hand of oddly wholesome sequences in which they all try to one-up each other’s magical skills.
  27. Desierto
    Desierto throws subtlety to the wind, but not without purpose.
  28. Wild Diamond
    The screenplay itself fails to get inside Liane’s head as much as Khebizi and the film’s visual style do. You leave feeling like you only scratched the surface of who Liane is. You want more for her as much as she wants more from her small life.
  29. Kingsman: The Golden Circle
    It’s fun, but it’s blockbuster overkill after an already-crowded summer season.
  30. A Haunting in Venice
    The biggest selling point for Branagh’s Poirot movies has always been his clear passion for the source material and willingness to let Christie’s thrilling stories to stand on their own. But his slick Hollywood adaptations keep getting stuck in a purgatory that offers neither the excitement of the “Knives Out” movies nor the dry English charm of the original BBC Hercule Poirot specials. Perhaps the public service aspect of briefly returning some of Christie’s best works to the zeitgeist (and hopefully pointing some new readers towards her vast library) is sufficient justification for the series’ mediocrity
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