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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. A Quiet Place
    Utilizing the pure physicality of a cast you can count on one hand, the movie maintains a minimalist dread throughout, with every footstep or sudden move carrying the potential for instant death.
  2. Submergence
    Choked by overwrought trappings and suffocated by an unforgiving narrative structure, Wim Wenders’ “Submergence” is only bolstered by a pair of sterling performances from stars Alicia Vikander and James McAvoy, both of whom somehow rise above the lackluster film they’re sunk into.
  3. RBG
    Ginsburg’s life — and its many lessons, both learned and taught — come to entertaining and energetic life. It’s a fist-pumping, crowd-pleasing documentary that makes one heck of a play to remind people of Ginsburg’s vitality and importance, now more than ever.
  4. Gringo
    Aussie director Nash Edgerton loads up on some of his signatures, including lots of bad guys, tons of twists, and a dark sense of humor. Unfortunately, his sensibilities are dulled by a sprawling story that never quite snaps together.
  5. The Strangers: Prey at Night
    The only thing scarier than Prey at Night is the possibility that we might have to wait another decade for more of its very special mask-faced chills.
  6. The Outsider
    The more this film begs to be told from the inside out, the more Zandvliet shoots it from the outside in. It’s enough to make you wish he hadn’t shot it at all.
  7. A Wrinkle in Time
    It almost doesn’t matter that the movie is too emotionally prescriptive to have any real power, or too high on imagination to leave any room for wonder; DuVernay evinces such faith in who she is and what she’s doing that “A Wrinkle in Time” remains true to itself even when everything on screen reads false.
  8. Submission
    Like a time-traveler who sets into motion the same fate they’re trying to undo, Submission is so desperate not to become a cliché that it ultimately wastes a golden opportunity to become something more.
  9. Chappaquiddick
    Jason Clarke opts for a more low-key approach to Teddy Kennedy, eschewing a big accent or showy mannerisms, and fully disappears into the role. It’s his finest work yet, and proof of his ability to excel given the right material.
  10. Death Wish
    Although he races through the occasional blasts of gritty action, Roth slows things down whenever Paul corners one of the people who killed his wife, the director sinking his teeth into long torture sequences or terse dialogue scenes that are punctuated with shocking flashes of gore.
  11. Did You Wonder Who Fired the Gun?
    Did You Wonder Who Fired the Gun? is at its sharpest and most necessary when Wilkerson interrogates his personal connection to the past, extrapolating his reticence to explore his own family’s violent history into a national epidemic of people who are similarly reluctant to do the same.
  12. Mohawk
    Mohawk offers a very clear commentary on the displacement and genocide of Native Americans, which is apparent through the American militia’s ruthlessness and crude racism.
  13. They Remain
    They Remain, the new thriller from director Philip Gelatt (“The Bleeding House”) hews closely to some predictable beats, but it’s an engrossing exercise in boiling familiar ingredients down to pure, unbridled creepiness.
  14. Love, Simon
    It’s too bad that the movie isn’t as vibrant, funny, and entertaining as the community it wishes to represent — but it’s a start.
  15. 7 Days in Entebbe
    When all the dust settles, we’re left right where we started, and with nothing to show for it but a fleeting reminder that peace is impossible without negotiation. It’s a lesson that history has failed to teach us, filtered through a movie that doesn’t understand why.
  16. Mute
    Mute is ludicrous, but within the confines of its referential logic, also pretty cool.
  17. Every Day
    Set aside the contrivances and creepy plot twists, and Michael Suscy’s Every Day offers up a timely message about acceptance and the nature of love that’s especially welcome at the moment. Unfortunately, the movie falls short of doing justice to that idea.
  18. Kings
    Eschewing poeticism for an empty sense of prefab empathy, Kings is so determined to be hopeful that it forgets to be honest.
  19. Where Is Kyra?
    The movie casts an unmistakable spell out of Pfeiffer’s ability to imbue Kyra with a profound sense of sorrow.
  20. Unsane
    Unsane brims with curiosity about digital technology, discomfort with corporate bureaucracies, and is spiked through and through with icy wit – in short, it could never be anything but a Soderbergh film, and a particularly delicious one at that.
  21. Annihilation
    At once a gripping jungle survival thriller and an alluring sci-fi puzzle, Garland’s heady gambit confirms he’s one of the genre’s best working filmmakers.
  22. Game Night
    At first, you may be inclined to reject it outright, but Game Night works so hard to win viewers over that it eventually finds its way to a winning formula.
  23. Looking Glass
    Somewhere in this material is the potential for tense exploration of private desires afflicting people enmeshed in extreme psychological disarray, but this sleepy drama never approaches the sophistication (or pulpy fun) that would allow it to succeed on that mission.
  24. Red Sparrow
    The elegance of Francis Lawrence’s direction, cinematographer Jo Willems’ measured camerawork, and James Newton Howard’s ominous score adheres to a familiar set of beats, but it’s the rare big Hollywood mood piece and mostly satisfying on those terms.
  25. Nostalgia
    It’s beguiling that a film with an almost religious aversion to subtext could be so unsure of its own subject, but Pellington knows from experience that it’s hard to put a finger on impermanence.
  26. Isle of Dogs
    The staggeringly well-crafted Isle of Dogs is nothing if not Anderson’s most imaginative film to date.
  27. The Female Brain
    The formulaic approach to presenting each story — which ostensibly track different people Julia herself has studied, though she never interacts with them — is predictable, static, and wholly clinical.
  28. When We First Met
    From the start, Whittington’s script lays everything out so schematically that there’s little reason to keep watching for the story.
  29. Outside In
    Shelton’s work is understated, but elevates seemingly forgettable scenarios with a wise, humane approach that makes even a lesser work like Outside In a cut above the market standard.
  30. The 15:17 to Paris
    Eastwood remains a deeply purposeful filmmaker, and The 15:17 to Paris clearly has a plan — it builds to a riveting showdown, with a unique kind of payoff enhanced by the authenticity of its design. It’s a fascinating gamble even when it doesn’t hold together.
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