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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. Knocking
    Few contemporary horror films start this strong to end so poorly, and with such a lack of ease. Molly deserves answers, but “Knocking” forgets what the questions were in the first place.
  2. Antlers
    At his best, Cooper is someone who can wring tension and understanding from what’s come before, not necessarily in anticipation of what’s about to happen. Antlers ends up getting caught between the two.
  3. 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.
  4. Doin' It
    The gags are fun, but like everything else they feel unfinished — the seed of a full joke that will leave you wanting more. There are laughs aplenty, and Singh is completely at ease in a starring role, selling the material even in its weaker moments.
  5. Jumanji: The Next Level
    "The Next Level” attempts to find a balance between winking jokes about video gameplay and the price of immortality (no, really), settling back into the charm of the film it’s tasked with following up. It’s not the most original kind of magic, but there’s potency there, more than enough to keep audiences hanging around for at least one more round.
  6. Generation Um...
    Though ultimately unsuccessful, it valiant reaches for a funky, wild critique of hedonistic sluggards wandering through society with no clear direction. But more than anything else, it delivers Keanu in his element.
  7. Linda Ronstadt: The Sound of My Voice
    A maddeningly shallow look at Ronstadt’s remarkable life.
  8. The Mad Women's Ball
    The Mad Women’s Ball capably sells the fact that Salpêtrière was a naked reflection of the institutional sexism that existed outside its walls, but Laurent’s eagerness to confront the barbarism of Charcot’s hospital tends to stifle the finer details of a story that hinges on female empowerment.
  9. The Darkest Minds
    The film zips through its final act at breakneck speed, doling out answers and riling up new conflicts with little care for how they impact a standalone story, just setting up for a franchise that might never come to fruition.
  10. The Tomorrow Man
    The Tomorrow Man suggests "Take Shelter" by way of "It’s Complicated," an unseemly combination that never quite gels. But the actors work overtime to mine substance from the material, and Jones gives them plenty of room to rescue this curious movie from complete oblivion.
  11. Mute
    Mute is ludicrous, but within the confines of its referential logic, also pretty cool.
  12. Star Wars: Episode IX - The Rise of Skywalker
    With emerging rebel leader Rey (Daisy Ridley) providing a sturdy emotional foundation, and billions of Disney dollars fueling an obviously stunning array of special effects, Rise of Skywalker doesn’t squander every opportunity to dial up the thrilling nature of the epic at hand, but all that razzle-dazzle can’t obscure a hollow core.
  13. She Will
    Krige is magical enough in a complex role (and relative newcomer Eberhardt makes for a wonderful foil), but she can only pull the film along through sheer force of will for so long.
  14. Metal Lords
    Metal Lords may never find the rhythm a movie like this needs in order to stay in the sweet spot between goofy and charming, but there’s a stubborn kernel of truth to how casually its young characters learn to hear themselves by listening to Judas Priest.
  15. Blood Father
    By no means a great piece of filmmaking, Blood Father nevertheless recaptures some of the rough attitude of Gibson's "Mad Max" days, as he shoots, growls and head-butts through a routine tale of angry drug lords.
  16. The Ice Road
    If this mildly refreshing mid-June spectacle is as thin and straightforward as the terrain that it covers — forgettable in a way that makes you feel like it’s melting while you watch it, and never as slick an action vehicle as its premise might suggest — it still manages to offer a few mild twists before the journey is over.
    • 48 Metascore
    • 58 Critic Score
    Song One
    Barker-Froyland's intention was clearly to make Song One all about music and how it can bring people together. But the result is all about Anne.
  18. Argylle
    Argylle ends on another glorious high that a more serious movie would never have been able to pull off, but the flimsy and hyper-contrived fluff leading up to it is so determined to justify its own absurdity that it doesn’t leave us enough of a chance to enjoy it.
  19. Believer
    It’s damning, if not quite fatal, that Lee’s version works best when it’s riffing on the standout elements of the source material rather than trying to reinvent them.
    • 59 Metascore
    • 58 Critic Score
    Jurassic World
    Trevorrow, like so many directors given the responsibility of delivering a straightforward blockbuster designed to satisfy bottom-line expectations, struggles to find the balance between silly and serious.
  21. 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.
  22. The Legend of Molly Johnson
    Purcell, as star, stays resolute to the last, but as filmmaker, her sharp ideas are dulled into something that barely leaves a mark.
  23. Monster
    Harrison is one of our finest young actors, capable of eliciting great empathy and always conveying deep interiority, and saddling him with a derivative monologue only serves to take us out of his head, and mostly out of his performance.
  24. Huda's Salon
    “Huda’s Salon” doesn’t waste a second in its crackling first 10 minutes ... but that rat-a-tat-tat opening eventually gives way to a drama that’s uneasy both due to its subject matter and its weak hold on it.
  25. This Is Not Berlin
    The film has style in spades; it would have substance, too, if only it knew when to quit.
  26. Mary and The Witch's Flower
    Mary and the Witch’s Flower may not be a great film — it occasionally struggles just to be a good one — but it’s a convincing proof-of-concept, and that might be more important in the long run.
  27. The Eyes of Tammy Faye
    For better or worse, we’re on Tammy Faye’s side, but the film often embraces the worst bits of a complicated story in order to make Tammy Faye look better. Why not make her look more real, makeup and all? Chastain is always able to find that humanity, but The Eyes of Tammy Faye too often turns its attention to the wrong places.
  28. Roommates
    Roommates has a real chance at being a formative experience for someone, which is more than a lot of movies can say. But those of us who have already been sufficiently formed? We can find better things to stream this weekend.
  29. Good on Paper
    Good on Paper can’t quite find its footing, offering insight and sparkle in only fits and starts.
  30. Jobs
    The movie is constantly at war with attempts to provide an honest portrayal, almost as if its subject were reaching beyond the grave to steer any negativity back in the direction of a hagiography.
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