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For 5,209 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 Black Ball
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,599 out of 5209
  2. Mixed: 1,342 out of 5209
  3. Negative: 268 out of 5209
5209 movie reviews
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  1. Rubberneck
    Rubberneck has more in common with the growing Karpovsky oeuvre than it may appear -- and even inadvertently critiques it.
  2. Immaculate
    It is in the third act that Immaculate delivers a gonzo, rock-smashing, fiery, crucifix-stabbing and all-out bloody good time. Unfortunately, by that point, it’s too late to save the soul of this movie, which is condemned not to go to hell, but remain in dull horror movie purgatory.
  3. Little Death
    There’s a perplexing choice at the heart of Little Death, directed by Jack Begert, best known for his work in music videos. That choice is essentially to make two very different movies and smash them together.
  4. Sweethearts
    The central premise of the friends’ dropping their high school relationships never takes off when the film has so little interest in fleshing those connections out even slightly, but it’s easy to root for the two of them to find happiness.
  5. Extraction
    There’s a fine line between awe and tedium, and sometimes not even Chris Hemsworth is able to blur it for us.
  6. Mufasa: The Lion King
    Mufasa has hidden charms that are arguably best described as Jenkins released straight to VHS.
  7. Minions: The Rise of Gru
    It’s colorful and madcap and zany, and while that might not make it suitable for all audiences, it will delight the very one it is made for. That’s fine for now, but if this franchise wants to survive, the next entry will have to take on a much tougher mission: stay silly, but get a whole lot smarter.
  8. Infinite Storm
    Despite the refreshingly experiential flavor of Szumowska’s approach, her film is handcuffed by the facts of its true story, and Pam remains at such a pronounced emotional remove that it sometimes feels as if she’s only hiking up that mountain because the facts of the matter demand that she must.
  9. The Commuter
    This may be a forgettable movie about the forgotten man — a blue-collar morality play disguised as a very contrived hostage crisis — but at least it’s shlock with something on its mind.
  10. I Am Michael
    Anchored by a remarkably convincing performance by James Franco in the lead role, I Am Michael manages to explore Glatze's story without condemning him, even as it foregrounds the troubling nature of his path.
  11. ACORN and the Firestorm
    Reuben Atlas and Sam Pollard’s convincing but unfocused documentary “ACORN and the Firestorm” firmly contextualizes the group’s targeted debasement and eventual downfall as a landmark event of this modern political moment — not the epilogue of the previous era, but rather the prologue of the current one.
  12. Reality Winner
    United States vs. Reality Winner is less expose than repudiation of a system that lacks the humanity to address the subtleties of her case.
  13. Diary of a Chambermaid
    Benoît Jacquot’s The Diary of a Chambermaid is a gorgeously mounted and dramatically inert bit of fluff that drapes itself over a smoldering Léa Seydoux but never manages to catch fire.
  14. The 24th
    The 24th means well, and while it, sadly, mostly elicits a shrug, what the film lacks in pizzaz it more than makes up for in educational value, for better or worse.
  15. Scarlet
    Scarlet amounts to a frustrating waste of animating and directorial skill for the price of an excessively ordinary story.
  16. Wine Country
    A pleasant and perfectly watchable comedy that would have died on the vine in theaters, Wine Country is casual viewing done right.
  17. It's What's Inside
    It’s a loud, colorful, frantic and pitch black horror comedy about identity that mercilessly critiques modern anxiety about desirability and success.
  18. Alpha
    The maddening frustration of her first unambiguous misfire — which is worse than bad because it could have been good — is that it feels so much, but conveys so little.
  19. Escobar: Paradise Lost
    Di Stefano's memorable debut feature makes up for its lack of sophistication with constant forward motion.
  20. Adrift
    Adrift is told with an inimitable sense of place and a rare attention to detail, both of which help to ensure that we never lose sight of the terror at hand. When all else fails, which it sometimes does, Woodley is there to right the ship.
  21. Hard Luck Love Song
    Justin Corsbie’s debut would buy you a drink if you couldn’t afford one, hustle you for a hundred bucks in the backroom if you could, and leave you with a big hug on the way out either way just cause it was so grateful not to spend the night alone.
  22. In the Land of Blood and Honey
    The most impressive thing about In the Land of Blood and Honey is that Jolie makes you feel it.
  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. Tag
    Stuck between a hangout movie and an out-and-out caper romp, Tag settles for something in the middle — there are worse ways to spend your time, but the result is taking an outrageous premise and making it seem ordinary.
  25. The Wizard of the Kremlin
    It’s not a thriller, it’s not really a comedy, and it’s unlikely to start a revolution despite a cruel jolt of a final shot.
  26. Migration
    It is very silly and often strange, but it’s also sweet and funny, and damn it all if you don’t start to really care about this odd little family.
  27. Jupiter's Moon
    Jupiter’s Moon is no simple story of escape, in part because Mundruczó’s script (co-written with Kata Wéber) has no real idea where it’s going.
  28. Capital
    Gavras never forces the material into allegorical turf; it's a relatively straightforward look at the ramifications of getting blinded by dollar signs, with perhaps one of the most clearly defined visions of economic depravity since "Wall Street."
  29. After Blue (Dirty Paradise)
    A kaleidoscopic fantasy warped through the lens of a 1970s sci-fi Western, After Blue is a synthetic siren song for the freaks of the future and the past.
  30. Tiger Eyes
    Directed by Blume's son Lawrence, this gentle drama based on Blume's 1981 novel works surprisingly well considering the numerous trappings of the material, while demonstrating exactly why it's so difficult to bring Blume's work to the screen.
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