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For 5,173 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 4.3 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: 3,574 out of 5173
  2. Mixed: 1,333 out of 5173
  3. Negative: 266 out of 5173
5173 movie reviews
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  1. The Killing of a Sacred Deer
    Fortunately, the filmmaker’s rare gift for brutal absurdity remains intact, and The Killing of a Sacred Deer only gets funnier as it grows darker.
  2. The Beguiled
    The Beguiled is a lurid, sweltering, and sensationally fun potboiler that doesn’t find Coppola leaving her comfort zone so much as redecorating it with a fresh layer of soft-core scuzz.
  3. The Meyerowitz Stories (New and Selected)
    The Meyerowitz Stories (New and Selected) isn’t the wittiest or most exciting movie that Noah Baumbach has ever made, but it might just be the most humane.
  4. Wonderstruck
    This is a soul-stirring and fiercely uncynical film that suggests the entire world is a living museum for the people we’ve lost, and that we should all hope to leave some of ourselves behind in its infinite cabinet of wonders.
  5. Baywatch
    Baywatch won’t blow anything out of the water (except for the boat it sets on fire), but it will certainly make a splash.
  6. Blame!
    The film’s world-building is more engaging than its plotting, which skews toward the generic as the embattled good guys set out on their last-ditch effort to save what remains of humanity; there’s a sense, while watching Blame!, that there are more interesting stories on the fringes of this tribal future.
  7. Everything, Everything
    It may not break the mold in many ways but one, but the impact of that one is far from trivial.
  8. War Machine
    The movie veers from the broad doomsday satire of the “Dr. Strangelove” variety to a more subtle portrait of institutional failure, and doesn’t always succeed at modulating its tones, but it’s nevertheless a searing critique.
  9. Lost in Paris
    The pair blends storybook visuals with a stream of clever gags and oodles of pathos to deliver an infectious romance almost too eager to please at every turn.
  10. Pirates of the Caribbean: Dead Men Tell No Tales
    Kon-Tiki directors Joachim Rønning and Espen Sandberg are at the helm this time around, proving capable captains even if the script they’re working from isn’t always seaworthy.
  11. Term Life
    Perhaps the most damning thing that can be said about Term Life is that it’s exactly the limp, shapeless, and forgettable kind of thriller you might expect from the director of “Couples Retreat” (Peter Billingsley, a.k.a. Ralphie from “A Christmas Story”).
  12. Blade of the Immortal
    For all the great action and idiosyncratic antagonists (Erika Toda, as a brutally efficient warrior who can’t stomach violence is a particular standout) Blade of the Immortal is altogether too much.
  13. Okja
    As with Snowpiercer, this is a story almost too eager to fire in multiple directions, sometimes with messy results, veering from broad satire to softer exchanges with little regard for finding balance between the two.
  14. Paris Can Wait
    Like a fine conversation, which her solid script mostly delivers, Coppola keeps the tension in the air like a lightly bouncing ball.
  15. Meri Pyaari Bindu
    While Meri Pyaari Bindu isn’t entirely clichéd, it also never quite finds its footing in terms of tone, narrative, or chemistry between the lead characters, coming off instead as both confused and confusing about where it’s going or what it’s trying to say.
  16. Stefan Zweig: Farewell to Europe
    Schrader’s direction is unobtrusive but agile, as though she considers it her duty to provide a cinematic soapbox for Zweig and politely exit the spotlight.
  17. Hounds of Love
    These aesthetic flourishes are as necessary as they are nice to look at, and go a long way toward making the darker shades of Hounds of Love less of an endurance test.
  18. The Midwife
    Offering plum roles to Catherines Frot and Catherine Deneuve, The Midwife is a minor-key crowd pleaser about friendship, forgiveness and rolling with the punches.
  19. Snatched
    Pairing up talented comedians like Hawn and Schumer with a wacky plotline to match should spell comedy gold, but Snatched is about as cheap and disposable as a tourist trap tchotchke.
  20. King Arthur: Legend of the Sword
    Part “Game of Thrones,” part “Snatch,” and almost all bad, Guy Ritchie’s King Arthur: Legend of the Sword is one of those generic blockbusters that has nothing to say and no idea how to say it.
  21. Folk Hero & Funny Guy
    Russell and Karpovsky are a winning pair, and if they ever want to hit the road for more big jokes and even bigger revelations, any director would do well to let them take the wheel.
  22. A Woman's Life
    A Woman’s Life is a very particular experience, told with consistency and without a whit of compromise. It’s not always exciting, but there’s something tremendously rewarding (and very sad) about the matter-of-factness of it all, the ceaseless indifference of time’s steady forward march.
  23. Alien: Covenant
    Just as this series focuses on survival instincts, it seems that Scott has found a way to exercise his own, keeping the “Alien” series relevant by resurrecting the same old scares.
  24. Below Her Mouth
    It’s a fittingly ambiguous title for a directionless film, late night fare that will be enjoyed by just as many horny men as horny teenage lesbians.
  25. Last Men in Aleppo
    Last Men in Aleppo is less about finding meaning amidst a massacre than it is about people who are trying to survive without it.
  26. Get Me Roger Stone
    Of all the non-fiction movies that have already been made about the toxic cesspool of the 2016 election, or how Trump emerged from it like a leather-tanned Swamp Thing, Get Me Roger Stone is the one that best articulates how we got here and who’s to blame.
  27. It Comes at Night
    Once again, Shults has delivered a top-notch psychological thriller, but It Comes at Night builds an unnerving atmosphere around unspecified sci-fi circumstances.
  28. Whitney: Can I Be Me
    The film’s main triumph is in crafting a convincing narrative with a clear point of view.
  29. Sweet Virginia
    The film is gripping from start to finish, even when so much of its menace rings hollow.
  30. I Am Heath Ledger
    I Am Heath Ledger is far too loving a portrait to be confused for art — don’t expect another “Amy” — but the film’s superficial approach is buoyed by an overwhelming degree of sincerity.
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