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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. On Chesil Beach
    On Chesil Beach offers up so many tricky tonal changes, enough that Cooke eventually gives them over to a single note: limp.
  2. The Awakening
    As ghost stories go, this one's done just well enough to provide reminders of how it has been done better.
  3. Suspended Time
    Suspended Time never really brings its two big ideas together: the everyday challenges of the pandemic, alongside existential worries about what’s behind us and what happens after we die, feel too separate to build into something bigger.
  4. Superman
    For a movie that’s meant to represent the birth of a brand-new cinematic universe (the DCU), James Gunn’s slight and slaphappy take on Superman doesn’t feel much like the start of anything.
  5. Calle Málaga
    Despite the film’s introductory text, most of Calle Malaga could happen in any city in the world. Without Maura’s performance, there’d be no specificity to speak of.
  6. Umma
    Despite its flaws, Umma is an impressive debut for Shim, the kind of outing that hints at plenty more under the hood or tucked inside a massive suitcase, just bursting with secrets.
  7. Rogue One: A Star Wars Story
    Not only is “Rogue One” the rare modern blockbuster that could have afforded to risk something real, it’s the rare modern blockbuster that gave itself a genuine responsibility to do so. And yet, for all of its excitement and occasional splendor, there’s nothing the least bit rebellious about it. It could have been special, instead it’s just… forced.
  8. Venom: Let There Be Carnage
    Venom: Let There Be Carnage is at its best — and its most unique, amusing, and fresh — when it’s tossing out those expectations and letting its freak flag fly. There doesn’t need to be carnage (or, hell, even Carnage), there just needs to be Venom, and more of it.
  9. Eternity
    Eternity does what it can to leverage its heady concept into a heart-stirring tale of love and longing, but the world-building — or lack thereof — invariably gets in the way of the emotion that Freyne is hoping to generate from it.
  10. Living
    The moral of this story is supposed to be shrugged off despite its overwhelming honesty, but Living downplays its drama to such an extent that it can feel as if Hermanus and Ishiguro lacked the nerve to attempt the same trick.
  11. Jules
    Sometimes, this peculiarly amusing film argues in its own special way, coming face-to-face with the weirdness that life throws your way can be the most important step towards learning how to live with it.
  12. V/H/S/Halloween
    Most of the shorts here try to use holiday goofiness as a gateway to serious terror, but unsurprisingly struggle to make it across that hell-mouth intact; meanwhile, the sole episode that keeps a straight face and taps into some of the real fears that accompany trick-or-treating manages to become the franchise’s most genuinely upsetting short in years.
  13. Sly Lives! (aka the Burden of Black Genius)
    As much as Questlove probes his many interviewees with questions about the expectations and responsibility that comes with “Black genius,” his film doesn’t live up to the ambitious framework he puts forth.
  14. The Devil and Father Amorth
    The exorcism itself is the least entertaining thing about the movie, even though it eats up a sizable and unbroken chunk of the 68-minute running time.
  15. Good Fortune
    In the end, Good Fortune left me skeptical and uneasy, wondering whether the people it depicts with such lightheartedness will only feel objectified instead.
  16. Sorry/Not Sorry
    Chopped up into chapters with dead-on titles like “Open Secret” and “Comeback,” Sorry/Not Sorry seems to suffer from biting off way more than a single, wide-spanning documentary could ever ably chew.
  17. Home Again
    It’s an amenable enough ramble of a romantic comedy, and Witherspoon is as charming as ever in the genre in which she excels.
  18. Tony Robbins: I Am Not Your Guru
    Ultimately, Robbins’ domineering character is so well-calculated that it appears Berlinger couldn’t peer beyond the curtain even if he tried. That fascinating dilemma makes the movie worth watching even though it presents an incomplete picture.
  19. American Ultra
    The bone-crunching action and relentlessly blood-letting feels out of place, and as those sequences start appearing with more frequency, the film loses much of its rangy charm.
  20. The Killer's Game
    The Killer’s Game finally gives Dave Bautista a great rom-com part to play, so it’s a shame that his rom-com leading lady isn’t given the same opportunity to fully pop.
  21. Brimstone
    If, for all of its godawful men, “Brimstone” has a hard time sewing its feminist fervor into anything more than a thin shawl over its bleak spectacle, this disturbingly watchable religious Western makes a solid case that hell is a place on Earth.
  22. Mi Iubita Mon Amour
    Who are these people? Why should we care about them? Not only does this inauspicious debut struggles to answer those basic questions, it never finds a believable way to ask them.
  23. Resurrection
    Is this impressive, boundary-pushing, experimental cinema or an endurance test with no internal logic where the chief pleasure is leaving the theater afterwards? Could it be both?
  24. 12 Strong
    Fuglsig’s feature debut is ultimately less an action movie and more a procedural, one in which incremental gains and minimal casualties are as much as can be hoped for.
  25. You Resemble Me
    Amer’s fraught but noble intent has resulted in a fraught but noble film; a volatile, urgent debut that’s semi-effective kaleidoscopic approach is meant to reflect Hasna Aït Boulahcen’s fractured identity.
  26. Serenity
    The big reveal at the end of the second act is absurd enough to pump some adrenaline into the third act, but the movie drags on too long afterwards.
  27. The Retreat
    There’s something much bigger afoot, something truly subversive and new, but The Retreat resists digging into that, instead leaning on its (admittedly, badass) leading ladies and their inspiring ability to kick butt. We love to see it, but we’d really love to see more.
  28. Suncoast
    It’s a movie that seems all too aware that life is hard, but desperately wants to simplify it. In doing that, it does a disservice to its own ideas.
  29. Centigrade
    The situation is dire, and while Centigrade eventually spins off into some well-worn tropes and predictable twists, the strength of its clever introduction keeps it pushing forward into a satisfying end.
  30. Janis: Little Girl Blue
    Long-time fans of Joplin's music will likely not find much new material to relish in "Janis: Little Girl Blue," and if the film earns any new acolytes for the songstress, it will be the result of Joplin's own charisma, not of the presentation of the film built so shakily around her.
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