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For 5,164 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 4.5 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: 3,565 out of 5164
  2. Mixed: 1,333 out of 5164
  3. Negative: 266 out of 5164
5164 movie reviews
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  1. The Hollars
    Woefully inauthentic, milquetoast as a mild breeze and far too tidy for any of its sweeping resolutions to have even the faintest hint of staying power, The Hollars takes 88 minutes to inspire the same warm and fuzzy feeling that a Hallmark card can deliver in a heartbeat.
  2. Hands of Stone
    In trying to squeeze a half-dozen life stories into its running time, Hands of Stone, the new film about legendary Panamanian boxer Roberto Durán, magnifies that disappointing mistake.
  3. Complete Unknown
    The film’s best moments are hollow and derivative, as borrowed from better fictions as any of the names that Alice takes for herself.
  4. When Two Worlds Collide
    Listless at times and lacking the killer instinct required to follow through on the emotional toll that the fighting took on its survivors, the documentary is far more insightful about the buildup to bloodshed than it is about the mess that was left behind in its wake.
  5. Spa Night
    The beautifully lensed drama is, like its protagonist, compelled and often obsessed by the human shape and form, and Ahn’s film artfully uses the physical to tell a mostly standard issue coming-of-age story with style.
  6. Ben-Hur
    The good news is that the story of Ben-Hur is so rock solid that not even the director of “Abraham Lincoln: Vampire Hunter” can screw it up completely.
  7. War Dogs
    Hill embodies everything that’s best about the film around him: He’s funny, daft and broken in a way that’s more fun to gawk at than it is to fix. In a story that’s supposedly about the payoffs and perils of taking big risks, he’s the only one who puts his money where his mouth is.
  8. Imperium
    Radcliffe’s performance ensures that the movie is engaging from start to finish — like Letts, the lynchpin of his portrayal is in the confidence of his voice — but Ragussis is afraid to follow his lead actor down the rabbit hole.
  9. Kingsglaive: Final Fantasy XV
    You may not want to spend more time with these characters, but you will want to sink deeper into their world — fortunately, the forthcoming videogame will allow players to do just that. Whether the game will make retroactively make “Kingsglaive” a more engaging movie remains to be seen, but there’s certainly room for improvement.
  10. Mohenjo Daro
    This is a movie of remarkable scale; on the level of sheer craftsmanship, it offers some appeal. If only Gowarikar had put the same level of effort into the story.
  11. Edge of Winter
    This is irrefutably Kinnaman’s movie, but Connolly fatally undervalues him. He doesn’t trust his actor to walk the emotional tightrope his film stretches taut before him, to sell us on the idea of a father digging himself deeper into a hole of his own design.
  12. Kubo and the Two Strings
    Staggeringly beautiful and immensely true, the best animated film of 2016 — one of the year’s best films of any kind, really.
  13. Don't Breathe
    This elegant and surprisingly fast-paced blend of horror and suspense overcomes some of its more ridiculous ingredients thanks to endless invention.
  14. Florence Foster Jenkins
    That’s where the film truly succeeds: Frears doesn’t treat Florence like a joke, and neither does Streep.
  15. Disorder
    Winocour has a talent that cannot be taught, she has a gift for filtering every development through at least one character — especially those moments that other movies would mulch into the stuff of raw spectacle.
  16. Sausage Party
    Unlike so many comedies, Sausage Party only gets funnier as it goes along — there are dozens of duffed jokes along the way...but the script mines its demented premise for its full potential, and the plot crescendos to an ending so good that you’re likely to forgive many of the dull moments that came before it.
  17. Anthropoid
    Despite the film’s gripping final chapter, its heroic Czechoslovakian characters are completely disconnected from the rest of the country, much like their struggle has been omitted from the cinematic legacy of the war they helped to win.
  18. How He Fell in Love
    Regardless of who it sets its sights on, How He Fell in Love tells a complete tale without being tidy, fitting for a tale representative of love’s fickleness.
  19. Nine Lives
    Cats may have nine lives, but you only get one, and it’s too precious to waste on this drivel.
  20. The Little Prince
    The Little Prince is probably too opaque for children, and it’s definitely too strained for adults, but it’s still refreshing to see a movie that flies with the untamed, sometimes illogical creative impulses of its target audiences.
  21. The Girl with All the Gifts
    The Girl With All the Gifts really does offer up a fleshed-out world rich with eerie implications, saving the biggest one for the memorable finale.
  22. Little Men
    A nuanced portrait of a city in flux (or decline) that uses the impressionableness of adolescence to shake our own understanding of gentrification and its residual effects, Little Men is that rarest of beasts: a truly hopeful heartbreaker.
  23. Suicide Squad
    Suicide Squad never has the courage of its convictions — it doesn’t own anything. At best, Ayer rents some pre-existing pop iconography and charges us $15 to watch him take it around the block for a spin. Forget the “Worst. Heroes. Ever.” These guys don’t even know how to be bad.
  24. Dishoom
    It amounts to little more than frothy summertime entertainment—occasionally fun, but almost immediately forgettable.
  25. Lace Crater
    It’s a story that has its share of unnerving sequences, but like its pivotal character, it feels stuck between two worlds.
  26. Equity
    What makes Equity such a vital feminist film, even when its other qualities are often few and far between, is how defiantly it internalizes that idea.
  27. Tallulah
    Though it falls short of its goals, Tallulah is an ambitious first film for Heder. A valiant effort, but ultimately, like its characters’ lives, a missed opportunity.
  28. Indignation
    Indignation doesn’t break any fresh ground, and at times plays more like a series of engaging moments than a cohesive whole, but its craftsmanship is impeccable.
  29. Miss Sharon Jones!
    Clearly a dynamo in both her life and work, observing the juxtaposition between pre-cancer Jones (the film is filled with excellent performance footage of her over the years) and the still-mending Sharon is profound; Kopple resists making cheap comparisons between the two, instead opting to let the footage speak for itself.
  30. Into the Forest
    Page and Wood navigate this difficult, often half-formed material with great tenderness and surgical precision — together, through thick and thin, they convey a feeling of great personal growth, revealing new wrinkles to their roles long after Rozema’s camera has stopped looking for them.
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