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For 5,167 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 4.5 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: 3,568 out of 5167
  2. Mixed: 1,333 out of 5167
  3. Negative: 266 out of 5167
5167 movie reviews
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  1. Barbara Walters: Tell Me Everything
    Barbara Walters Tell Me Everything is then both an unvarnished portrait and a slightly incomplete one. Very subtly it does show how, as a woman operating in very much a man’s world, she opened the doors for others while not necessarily doing a whole lot to change the system and its paradigms and its power structures, full-stop.
  2. Titan: The OceanGate Disaster
    While there’s nothing egregiously cynical about the film’s nature or design, its forensic tone belies the familiarity of its evidence, and its subject has already been too well-excavated for the sincerity of Monroe’s efforts to shake off that signature true-crime stink (the pungent stench of a once-proud medium that’s been left to rot on streaming).
  3. M3GAN 2.0
    Useless narrative threads and too many wasted elements give away M3GAN 2.0 as an amateur effort made by a talented horror filmmaker who has not yet mastered action’s specific visual language or skill set.
  4. Bride Hard
    The problems start with Shaina Steinberg’s misguided and shallow script.
  5. 28 Years Later
    28 Years Later effectively uses the tropes of its genre to insist that the line between a tragedy and a statistic is thinner than we think, and more permeable than we realize.
  6. Sally
    Yes, Ride’s life was rife with tensions, both personal and professional. So how do we build a film around that? Carefully. Perhaps too carefully.
  7. F1: The Movie
    The action is hardly dull, but the sheer disconnect between the wowee zowee immediacy of the race footage and the mezzo mezzo excitement it inspires suggests that tuning out the noise isn’t as easy as Sonny Hayes might seem to think.
  8. Elio
    Elio isn’t a bad time at the theaters — it’s pretty to look at, charming enough, and frequently funny. But by shying away from investing in where its main character is coming from, the movie makes his galactic adventures feel a bit weightless.
  9. Sex
    It’s a knowing smile of a drama that leaves you eager to follow Haugerud through his other two new films about the life of the mind, the last and best of which (“Dreams”) recently won top prize at the Berlinale.
  10. Inside
    Inside is a small and constrained prison drama, even by the inflexible standards of its genre, and yet Williams’ debut is so replete with such moments of raw compassion that it almost invisibly accumulates a deep well of emotion — one that allows the film to feel much bigger than it looks by the time it arrives at its absolute knockout of a final scene.
  11. Sovereign
    While every scene pulls Jerry apart at the seams, “Sovereign” is too vague and scattered to chart a legible path toward his breaking point.
  12. It's Dorothy!
    Packed with major talking heads, zippy animation, and a bouncing (and bouncy) sense of time (and timeline), “It’s Dorothy!” succeeds mightily when it comes to its most elemental thesis.
  13. How to Train Your Dragon
    No one needs a live-action remake, but ones this faithful and sweet are not the problem.
  14. Materialists
    Cynical, sad, increasingly fucked up, and often gloriously mean, Song has turned the genre inside out to show us how shallow these stories can be.
  15. Echo Valley
    There’s some fun to be had in watching Echo Valley shift into a battle of wits between Moore and Gleeson, as both actors mine devious nuance from the thin gruel of a paperback thriller.
  16. Predator: Killer of Killers
    An awesomely violent and artfully staged piece of animated pulp, Predator: Killer of Killers feels like a movie that was dreamed up by a couple of stoned teenage boys in a suburban basement one night during the summer of 1987, but this is the rare case where that feels like a good thing. A very good thing, even.
  17. Ballerina
    A bigger, more confident sequel might be just what this franchise needs to enjoy a peaceful transition of power — and to make good on the full potential of a Hollywood action movie that meaningfully tries to iterate on John Wick instead of just copying his moves.
  18. Will
    Maple’s love for her neighborhood and her neighbors is obvious, as she paints an unflinching portrait of the struggle and resiliency of the community.
  19. The Ritual
    For a film that treats historical realism as a primary selling point, The Ritual has no real grounds on which to assert that it’s less fantastical than any of the better exorcism movies out there.
  20. Diciannove
    That Tortorici pulls this twist off is both perverse and pleasurable, and that he keeps it all feeling funny is even better.
  21. Hot Milk
    Hot Milk dribbles when it should feel crisper, less torpid, but that’s perhaps to match the inner decay of everyone onscreen, and the metastasis of the most interminable vacation ever known.
  22. Tornado
    Despite considerable thrills throughout, Maclean’s writing makes it seem as though his characters never actually existed in their world before the film started.
  23. Karate Kid: Legends
    In tying its story to the saga of Daniel LaRusso, Karate Kid: Legends resorts to repeating his journey entirely, leading to a martial arts film that has limited new moves compared to what audiences have seen 40 years ago.
  24. A Useful Ghost
    Boonbunchachoke has made a darkly hilarious film that deserves to be remembered for much more than its shock value.
    • 67 Metascore
    • 75 Critic Score
    A Private Life
    A Private Life does manage to create an interesting dynamic as it posits the need to balance psychology’s theoretics with actual results and action.
  26. Orwell: 2 + 2 = 5
    The result isn’t as riveting as “I Am Not Your Negro” — it feels less personal and more generic, like a term paper someone could have written in undergrad. Still, Peck makes his points well, and accomplishes what he sets out to do by getting your blood pressure rising.
  27. The President's Cake
    The President’s Cake is a case of relatively modest filmmaking that becomes rich because archetype and characterization coordinate the story world.
  28. My Father's Shadow
    My Father’s Shadow resolves as a movie less about a father than it is about the absence of one — a vibrant, deeply felt love letter to Lagos, written in blood.
  29. Yes
    As sincere in its satire as it is satirical in its sincerity, the deliriously provocative Yes is a veritable orgy of self-loathing surrender that reaffirms Lapid as the world’s most visceral director on a shot-by-shot basis.
  30. Romería
    Romería isn’t without its own unique shape, or visual vitality, or a narrative sense of joie de vivre, but it doesn’t always stand out from the pack even as Simón deserves credit for rendering her autobiography in aesthetically sublime terms.
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