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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. Flower
    At times, [Deutch's] performance is perhaps even too strong for the film that’s cobbled together around it, as the actress so convincingly indicates at Erica’s vibrant and complex inner life that she embarrasses the script’s feeble attempts to diagnose and solve her character.
  2. The Trip to Spain
    Director Michael Winterbottom hasn’t just delivered the funniest movie of the year, but also a comedy that casts its characters in a harsh new light.
  3. The Lovers
    The movie deals less with awkwardness of this comedic scenario than the emotions it creates for its central duo, and the psychological struggle when words can only go so far.
  4. The Death and Life of Marsha P. Johnson
    The Death and Life of Marsha P. Johnson is particularly suspenseful for the way it recollects the past through the prism of a murder mystery, brilliantly fusing an archival history with the elements of a detective story.
  5. Abundant Acreage Available
    Set in a single location with a cast of five, the movie offers a lesson in minimalist drama, unfolding as a sharply acted mood piece that never crescendos, but hums along with wise observations and first-rate performances.
  6. Stephanie
    Stephanie showcases the best and worst of that cheap model: It encourges an innovative and economical storytelling approach, but the scrappy production values obscure the stronger moments.
  7. The Wall
    The director’s instincts are a bit too broad to sell the full psychic horror of this scenario, and Taylor-Johnson will never be accused of being able to shoulder a movie by himself, but a super coherent sense of space and a vivid feel for the environment help The Wall to remain upright to the end.
  8. The Circle
    The premise begs to provoke contentious debate around privacy laws in an age of boundless innovation, but it can’t seem to find steady footing in that dialogue, in part because it lacks a substantial means of asking the right questions.
  9. Leaning Into the Wind
    Leaning Into the Wind will inspire anyone who sees it to look for the beauty in every gust, to admire how nature constantly rearranges itself, and us along with it. Even at its most self-conflicted, this is a fascinating reminder that some art wasn’t made to be owned.
  10. The House of Tomorrow
    A mawkish coming-of-age story that marries Sundance vibes with a soft punk spirit, Peter Livolsi’s The House of Tomorrow never manages to flesh out its skeleton of quirks, but its heart is definitely in the right place.
  11. Everything Else (Todo Lo Demás)
    Much of this quiet, slow-burn character study inhabits the dreary, remote quality of Doña’s existence, but with time, the movie pieces it together to reveal the emotional solitude lurking beneath that distant gaze.
  12. Guardians of the Galaxy Vol. 2
    Much of the material gets rehashed with slight variations...and many of the space battles have a redundant quality.
  13. Wakefield
    Swicord, perhaps a touch too reverent of Doctorow’s writing, can’t quite solve the limited emotional range of her protagonist.
  14. Tramps
    Having established such an electric pair, Tramps doesn’t quite know what to do with them beyond the initial setup.
  15. Super Dark Times
    Shot with the stoic confidence of a capable young director flexing his muscles, Super Dark Times is visceral and gripping throughout, its probing compositions forcing you to peer deeper and deeper into the darkness.
  16. Unforgettable
    Unforgettable treats this central struggle over the heart of a family in the same way that a recent Ken Watanabe character does, by surveying the battlefield and coming to a simple, definitive conclusion: “Let them fight.”
  17. Lucky
    Lynch’s directorial debut is a wisp of a movie, blowing across the screen like a tumbleweed, but it’s also the rare portrait of mortality that’s both fun and full of life.
  18. The Ballad of Lefty Brown
    By giving the spotlight to an archetype usually relegated to the background, writer-director Jared Moshé puts a revisionist spin on the familiar oater, but everything else about The Ballad of Lefty Brown is by the book.
  19. Sandy Wexler
    It’s awful, and yet it’s almost objectively Sandler’s best movie since “Funny People.”
  20. Little Boxes
    As knowing and perceptive as Howell’s script can be, it fails to galvanize its most sensitive ideas into compelling drama, and Meyer doesn’t recognize where a spark might be necessary.
  21. The Cage Fighter
    The movie works as a fascinating psychological dissection, and avoids any precise judgement of Carman’s habits.
  22. Muhi: Generally Temporary
    While Muhi develops a remarkable window into its main character’s predicament, it doesn’t push beyond the limitations of its classically cinema verite approach, and the assemblage of scenes from the hospital and beyond fall short of crystallizing into a complete analysis of Muhi’s situation.
  23. Glory
    It’s so confidently directed and performed that even the obvious bits sink in.
  24. The Fate of the Furious
    F8 is the worst of these films since “2 Fast 2 Furious,” and it may be even worse than that. It’s the “Die Another Day” of its franchise — an empty, generic shell of its former self that disrespects its own proud heritage at every turn.
  25. All These Sleepless Nights
    More than just a hypnotically hyper-real distillation of what it means to be young, All These Sleepless Nights is a haunted vision of what it means to have been young.
  26. SHOT! The Psycho-Spiritual Mantra of Rock
    Rock’s lack of self-importance prevents the doc from fetishizing the past, and Clay — who appears to have met the photographer on the set of a TV on the Radio video — is wise to assume that the world doesn’t need yet another reminder that it used to be full of gods.
  27. Mine
    The in-between moments when Mine is simply a guy stuck in the desert, trying to use his own wits to save himself, is when the film is at its very best, but that’s precisely what makes Mine such a disappointment: those moments are the in-between ones, not the bulk of the film.
  28. Smurfs: The Lost Village
    The Lost Village may be awful, but it’s not malicious. It doesn’t flaunt its mediocrity or celebrate its ugliness — it isn’t “Sing.”
  29. Salt and Fire
    Salt and Fire is by no means the most willfully obtuse film that Herzog has ever made — it seems as broad as a blockbuster when compared to the likes of “The Wild Blue Yonder” and “Lessons of Darkness” — but it’s the only one of his works in which his curiosity has completely eclipsed his insight.
  30. Carrie Pilby
    By trying to provide a little something for everyone, it ultimately offers precious little to anyone.
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