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For 5,167 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 4.5 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: 3,568 out of 5167
  2. Mixed: 1,333 out of 5167
  3. Negative: 266 out of 5167
5167 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Wakefield
    Swicord, perhaps a touch too reverent of Doctorow’s writing, can’t quite solve the limited emotional range of her protagonist.
  6. Tramps
    Having established such an electric pair, Tramps doesn’t quite know what to do with them beyond the initial setup.
  7. 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.
  8. 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.”
  9. 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.
  10. 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.
  11. Sandy Wexler
    It’s awful, and yet it’s almost objectively Sandler’s best movie since “Funny People.”
  12. 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.
  13. The Cage Fighter
    The movie works as a fascinating psychological dissection, and avoids any precise judgement of Carman’s habits.
  14. 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.
  15. Glory
    It’s so confidently directed and performed that even the obvious bits sink in.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.”
  21. 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.
  22. Carrie Pilby
    By trying to provide a little something for everyone, it ultimately offers precious little to anyone.
  23. Gifted
    Evans and Grace are exceedingly appealing together, and their charming chemistry keeps the film afloat even when it doesn’t seem to know which direction to move in.
  24. Live Cargo
    Fortunately, the black-and-white debut of writer-director Logan Sandler is just sharp enough to complicate its clichés with strong performances and a mesmerizing tone that pushes the mopey proceedings into psychological thriller territory.
  25. The Blackcoat's Daughter
    The root of evil in The Blackcoat’s Daughter isn’t particularly original or deep, but the movie’s twisty plot and eerie atmosphere makes it deeply unsettling anyway.
  26. Karl Marx City
    In its haphazard search for facts, it happens upon a great many truths about how we see each other, and the price we pay for looking too closely.
  27. Ghost in the Shell
    Whatever philosophical nuggets were lurking amid Oshii’s tangled plotting, they surely merited closer consideration by a filmmaker who wasn’t just trading in gloss, and doesn’t merely regard human beings as elements of design.
  28. Phillauri
    It’s all pleasant enough, but falls short of being as genuinely different as Clean Slate claims its films to be. As a romance, Phillauri lacks passion, and as a ghost story, it’s missing some much-needed spirit.
  29. I Called Him Morgan
    The director never intrudes on his film, but — even through the melancholic veil that Collin drapes over this ghostly portrait of the past — you can still feel his unbridled sense of discovery as he introduces the man who made this movie possible.
  30. Band Aid
    Band Aid is a thin but knowing portrait of how marriages stretch, sag, and pull back together.
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