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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. Logan Lucky
    If Logan Lucky begs you not to take it seriously, that doesn’t mean it lacks real soul.
  2. Detroit
    Detroit is extremely powerful when its wandering eye is trained on the moment at hand, when it’s performing a bracingly direct meditation on white violence and black fear. The film only runs into trouble when it clumsily attempts to contextualize the events of its horrific second act.
  3. The Untamed
    This is the kind of experience that might tell you more about yourself as both a viewer and a person than you’re comfortable knowing; it’s also the most alluringly strange movie of the year so far.
  4. Dunkirk
    Few movies have so palpably conveyed the sheer isolation of fear, and the extent to which history is often made by people who are just trying to survive it — few movies have so vividly illustrated that one man can only do as much for his country as a country can do for one of its men.
  5. Lemon
    Enhanced by a number of notable comedic actors entering uncharted terrain, it’s the kind of movie that makes you laugh and flinch in equal measures, and despite some messier twists, never ceases to move in surprising directions.
  6. To the Bone
    Throughout the film, Noxon refuses to offer up easy answers and feel-good conclusions to Ellen’s journey, even when it ratchets up into a literally overheated final discovery.
  7. Wish Upon
    Fortunately, you don’t need to wish for better versions of the movie experience Wish Upon calls to mind; they exist, and deserve repeat viewings far more than Wish Upon deserves one.
  8. Blind
    Blind is bad for many reasons, chief among them how it contributes to the belittling notion that representation doesn’t matter for a demographic that will never be able to see themselves on screen.
  9. Girls Trip
    Girls Trip nails laugh after laugh even amidst — and oftentimes because of — dramatic issues that wouldn’t be out of place in a Lifetime movie.
  10. Valerian and the City of a Thousand Planets
    The first 25 minutes of this movie should be mounted as an installation at the Louvre and played on an infinite loop. Only then can our planet know peace.
  11. City of Ghosts
    It often feels like Heineman is (understandably) too overwhelmed by the stories he’s capturing to help shape them into something greater than the sum of their parts. But no other film has so convincingly, or so urgently, illustrated the role that media will play in our fight for the future.
  12. The Rehearsal
    Set at a prestigious drama school and frequently engrossing, the film unfolds like an experimental acting workshop that occasionally falters when the plot intrudes on the performances.
  13. The House
    It would almost be impressive how many funny people it took to make something so unfunny — the full ensemble includes Nick Kroll, Allison Tolman, Michaela Watkins and Rob Huebel — only it’s difficult to be impressed when you’re focused on how little you’re laughing.
  14. Pop Aye
    Pop Aye never dips into cutesiness or sentimentality, even when you might find yourself wishing it would; it’s less a big-top circus and more a low-key character study.
  15. Spider-Man: Homecoming
    “Homecoming” works by allowing itself to become an actual genre film, the first of its ilk to recognize that superhero movies might be more interesting if they were also something else.
    • 52 Metascore
    • 42 Critic Score
    Jumpin' Jack Flash
    No one will say that Jumpin’ Jack Flash, a comedy thriller in which Whoopi plays a computer operator who gets accidentally tangled up in a silly plot involving spies and dead bodies, is the greatest film ever, let alone a passively good one.
  17. Despicable Me 3
    The whiz-bang joy of the first film is wholly absent, and Despicable Me 3 limps along for nearly an hour before finding its footing.
  18. Tubelight
    Where “Bajrangi” effectively harnessed the actor’s mega-star persona into a simple character that still — in true Salman tradition — had a significant moral undertone, Tubelight struggles to strike that balance, too often veering into naivety and exaggeration both in terms of performance and narrative.
  19. War for the Planet of the Apes
    With War for the Planet of the Apes, technological wizardry and first-rate storytelling combine into a bracing action-adventure that concludes the best science fiction trilogy since the original trio of “Star Wars” movies.
  20. Person to Person
    Shot in beautifully textured 16mm and told at an unhurried pace, Person to Person requires some getting used to, but once you settle into its groove the movie becomes much more than the sum of its parts.
  21. Nobody Speak: Trials of the Free Press
    A film about the vital importance of speaking truth to power needn’t be so concerned with dressing up its own frightful truths, but Nobody Speak still compels as an opening statement on journalism’s dubious future.
  22. Bill Nye: Science Guy
    While Bill Nye: Science Guy may not spend all its time on the man himself, it proves that the guy behind “Science rules!” hasn’t gone anywhere.
  23. Transformers: The Last Knight
    It’s an unabashed freewheeling mess of CGI explosions, fast-talking strategies and shiny metal monstrosities clashing in epic battles. And it’s actually kind of fun, in an infuriating sort of way, to watch the most ridiculous Hollywood movie of the year do its thing.
  24. En el Séptimo Día (On the Seventh Day)
    Once the movie arrives at its brilliant climax, the cumulative effects of passing details lead to sweeping payoff.
  25. 47 Meters Down
    47 Meters Down sinks rather than swims, even if there are a few buoyant moments along the way.
  26. All Eyez on Me
    Boom’s film (penned by Jeremy Haft, Eddie Gonzalez, and Steven Bagatourian) initially reads as a timely rallying cry around Shakur’s legacy, before devolving into a paint-by-the-numbers biopic that unspools with as much energy as a Wikipedia entry.
  27. The Book of Henry
    It’s intermittently funny, mopey, and tense, sometimes totally off-base but certainly ambitious in its approach.
  28. Once Upon a Time in Venice
    Mark Cullen’s ruthlessly boring and decidedly dismal Once Upon a Time in Venice marks a new low in Willis’ still-trucking action career, one that even Cage would likely flinch at, even if it does feature an entire sequence dedicated to naked skateboarding.
  29. Rough Night
    We’ve yet to see if Kate McKinnon can lead a movie, but she sure as hell can steal one. She did it in “Ghostbusters,” and she did it again in Rough Night, which is surprisingly funny despite a wild premise riddled with potential pitfalls.
  30. My Cousin Rachel
    The film is visually breathtaking, and anchored by two strong performances. But the loyalties in My Cousin Rachel seesaw too dramatically for tension to build satisfyingly; the film runs hot and cold when it really wants to simmer.
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