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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. Slow West
    Slow West certainly makes a valiant effort to reach beyond expectations of its genre, even leaving room for some welcome tongue-in-cheek humor when it's least expected. But at the end, all its waffling between various stylistic touchstones fails to hold much interest.
  2. A Hologram for the King
    A Hologram For the King never congeals into a single, involving story.
  3. Sputnik
    It’s an efficient, effects-driven ride with snippets of real ideas, but never quite willing to take them out of this world.
  4. 2nd Chance
    Jaw-dropping but often unfocused ... A rich film that nevertheless calls regular attention to any of the even richer (if perhaps less entertaining) films it might have been.
  5. 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.
  6. The Man in My Basement
    The devil isn’t just on the screen, it’s in the details, and Latif’s film can’t pull those together.
  7. Kong: Skull Island
    Kong: Skull Island may include some clever period details and idiosyncratic asides, but it’s largely a blockbuster B-movie less interested in depth than scale.
    • 79 Metascore
    • 58 Critic Score
    Family Plot
    It’s enjoyable enough, and the acting is comparatively looser than most of what comes before it thanks to the allowed improvisations on set, a first for the director
  9. Spinster
    The film’s inherent messiness and unpredictability eventually settles into more expected charms, but Spinster is at its most appealing when leaning into the very ideas it seemed hellbent on rejecting early on.
  10. Watergate
    The parallels between Watergate and Trumpocalypse are so boggling that they preclude any other reason for why Ferguson chose to make this film now. And yet, it’s the film’s deliberate timing that calls its value into question.
  11. Monday
    While Papadimitropoulos and his cast capture the perma-vacation feel that permeates Mickey and Chloe’s happiest moments, he’s less adept at navigating the heftier emotional elements.
  12. Family
    Family is funny in bits and pieces, but so obvious in terms of its eventual direction that it might have been better served by less plot and more clowning around.
  13. Please Baby Please
    With its bisexual lighting and hyper-designed oddball aesthetic, Please Baby Please looks a lot more polished than its messier camp influences. Aesthetically, the film cobbles together its many cinematic influences with admirable swagger. But film isn’t solely a visual medium — it’s a storytelling one as well.
  14. Marianne & Leonard: Words of Love
    “Words of Love” struggles to thread the needle between a conventional bio doc and a more specific portrait of two souls who found some kind of refuge in each other.
  15. Wasteman
    Amid all the barbarity for barbarity’s sake, Jonsson carries the film with a deep well of unspoken regret.
  16. The Courier
    A confident, entertaining, and well-upholstered historical spy thriller about a regular guy who stumbles his way toward saving the world, it’s the perfect movie for anyone who watched “Bridge of Spies” and thought: “If only that had been 30 minutes shorter, a bit less artful, and a lot more British.”
  17. The Long Game
    The Long Game is determined to ape the tropes of a feel-good sports drama, but only as a means to an end, and its struggle to balance the demands of the genre with the deeper concerns underpinning this story ultimately stops either side of that equation from going the distance.
  18. Not Fade Away
    It's a period piece composed of familiar pieces, none of which have much to say beyond surface elements that have been explored countless times before. Using a typical coming-of-age mold, Chase turns cultural ephemera into formula.
  19. Mufasa: The Lion King
    Mufasa has hidden charms that are arguably best described as Jenkins released straight to VHS.
  20. Jurassic Punk
    “Spaz” works best when, within the film’s fascinating unpacking of cinematic history, Leberecht also interrogates the unfair practice of crediting and illuminates the work of Williams. He’s a man whose behind-the-scenes talent made every scene unforgettable, and it deserves a bolder documentary than this one.
  21. Misbehaviour
    While Rebecca Frayn and Gaby Chiappe’s script works hard to give all of its players dimension, such an overstuffed narrative tends to do the opposite, limping through sub-subplots and continually introducing new characters, leaving its main attractions to twist in the wind.
  22. Operation Mincemeat
    When Operation Mincemeat slows down enough to see into those shadows — when the film slows down enough to leverage the fictions its characters invent for the Nazis against the ones they invent for themselves — it finds a hidden war that’s worth fighting to the end.
  23. It Happened in L.A.
    This whirling vortex of dysfunctional friends and acquaintances feel like an unfocused and self-absorbed melange of frustration. It’s a parade of broken people, connected only by their fruitless pursuits of happiness.
  24. The Cut
    It’s easy to imagine a performer more attuned to deliver intense, driven performances unlock the full potential of this character. As it is, The Cut never quite cuts as deep as you want it to.
  25. Arthur the King
    [A] sturdily enjoyable if emotionally uninsightful heart-tugger that aims straight down the middle of the audience for a mildly reassuring experience mostly made with families in mind.
  26. Shotgun Wedding
    Shotgun Wedding falls flat as any kind of explosive or endearing couples comedy, but shines in moments thanks to the women anchoring its pirate antics. Maybe the script should have stayed in 2003, but what a joy to see these timeless leading women jetting off into the sunset.
  27. Sansón and Me
    Watching and processing Sansón and Me is a melancholy experience. As Reyes tells Andrade early in the process, this documentary won’t exonerate him or get him released from prison, but for Andrade, the opportunity to tell his story and have a living example of his memories saved is enough.
  28. Downhill
    It’s hard to ever shake the sense that everyone would be much better off just queuing up Östlund’s film and moving on.
  29. The Persian Version
    It is a fun time, just one that doesn’t need so many versions packed into it.
  30. Damsel
    What follows is misdirection, flashbacks, visions, and wooden dialogue. At least the action is good, and Brown is game as ever.
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