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For 5,171 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: 3,572 out of 5171
  2. Mixed: 1,333 out of 5171
  3. Negative: 266 out of 5171
5171 movie reviews
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  1. Paterson
    Carried by an appropriately low-key Adam Driver and Jarmusch's casual genius for capturing offhand remarks, Paterson is his most absorbing character study since "Broken Flowers" -- and far more grounded in real life. There's no context necessary to recognize it as his most personal work.
  2. Neruda
    Neruda turns all of the filmmaker's preceding statements on his native land into a unified whole. In essence, the film asserts that even as history passes into legend, it speaks to deeper truths.
  3. The Last Face
    Even without its mopey, painfully on-the-nose dialogue and ponderous story, The Last Face sets itself up for failure with its premise, and Penn's apparent inability to recognize it as such. It's his worst movie.
  4. I, Daniel Blake
    It's a touching story that would seem altogether familiar if weren't also loaded with urgency.
  5. The Handmaiden
    No matter its overarching ridiculousness, The Handmaiden remains a hugely enjoyable dose of grotesque escapism from a master of the form.
  6. Aquarius
    Though Braga's performance sometimes outshines Mendonça's leisurely two-and-a-half hour narrative, in its better moments the two work in marvelous harmony.
  7. It's Only the End of the World
    [Dolan's] crafted the semblance of a substantial movie that never quite gets where it was supposed to go.
  8. Hell or High Water
    Grounded in lively performances by Chris Pine and Ben Foster as a pair of bank-robbing brothers, with a capable assist from a no-nonsense Jeff Bridges as the sheriff on their tail, Hell or High Water tries nothing new but delivers a fun ride.
  9. Personal Shopper
    This is a measured, richly ambiguous work about the subjective process of grief — masquerading as a ghost story — that experiments with the minutiae of film language as only a master of the medium can do.
  10. American Honey
    It's the closest thing to a magnum opus in Arnold's blossoming career.
  11. Loving
    The movie's light touch at times makes it difficult to engage with the stakes at hand, and Nichols' reverence for his couple's deep bond is practically so sacred he seems resistant to show any of their flaws.
  12. The Neon Demon
    While always an amusingly twisted ride, The Neon Demon is marred by pensive stares and monotone monologues about superficial desires that drag on, and on. Fortunately, Refn treasures shock value over all else, and his movie delivers on that promise with a depraved third act.
  13. The Unknown Girl
    The Unknown Girl combines its naturalistic direction with a strong lead performance and topicality, although these ingredients are hobbled by their familiarity.
  14. Toni Erdmann
    the film isn't always successful at justifying its heft, repeating the central father-daughter tension innumerable times before the pair finally start to make some progress. It's only thanks to the two actors' extraordinary authenticity that the film continues to work as long as it does.
  15. Welcome to Happiness
    Oliver Thompson's spellbindingly awful Welcome to Happiness isn't much worse than most first features — and, in some respects, it's far more ambitious — but this star-studded mess is the rare film that confronts you with the helplessness of watching someone self-sabotage their own work.
    • 80 Metascore
    • 83 Critic Score
    Pervert Park
    With a solid execution of storytelling, combined with a powerful statement about how we perceive sex offenders, Pervert Park excels as a documentary that explores not only what it takes to be human, but also why psychological evaluations could be crucial in understanding the forces that bring human to commit crimes in the first place.
  17. ma ma
    Cruz is radiant in her role, finding inner strength even when the script pushes Magda towards blind hope, and finding pain even when Medem insists that cancer hits with all the force of a bad night's sleep.
  18. Manhattan Night
    Despite being rife with crime, sex and darkness, Manhattan Night feels increasingly like a cheap ripoff of the genre it so very much wants to fit into.
  19. A Monster with a Thousand Heads
    Rodrigo Plá's intermittently engaging A Monster With a Thousand Heads is unique for how it captures the urgency of a system that's designed to frustrate and confuse people into helplessness.
  20. Julieta
    It's one thing to make a minor, accomplished work after focusing on grander statements, but Julieta mainly disappoints because it feels like the kind of straightforward, unadventurous drama that the filmmaker generally excels at reinventing through his own peculiar vision. This time, he plays it too safe.
  21. Last Days in the Desert
    It's a shame that the divine and human elements of this story are put into competition, because either one might have flourished on its own.
  22. Neighbors 2: Sorority Rising
    One of the greatest comedy sequels ever made.
    • 73 Metascore
    • 91 Critic Score
    Almost Holy
    The film offers no answer, instead choosing to examine the conundrum of a man who repeatedly washes his face when things get too overwhelming, right before heading back out to the streets.
  24. The Nice Guys
    The Nice Guys delivers enough brilliant physical comedy to smooth over its blunter narrative devices.
  25. The BFG
    An eager crowdpleaser from one of the world's greatest crowdpleasers, it gets the job done and nothing more.
  26. Love & Friendship
    Love & Friendship may not be traditional Austen, but it's pretty stellar Stillman.
  27. Money Monster
    Foster's suspenseful treatment of the material is fun to watch but not the dramatic statement its blaring tone would suggest.
  28. Sunset Song
    As with most miracles, Sunset Song is more likely to evoke awe than any one particular emotion; it accumulates an immensely tender beauty that fills up your heart like water rising in a well during a rainstorm.
  29. Alice Through the Looking Glass
    As Alice runs from one hollow set piece to another, hitting every standard mark that a colossal movie like this must in order to pay for itself, her adventure grows less and less interesting with every turn. By the end, all that lessness is too much for the muchness to match it. Less is usually more, but when it comes to this franchise, none would be ideal.
  30. Café Society
    Cafe Society works about as a well as a decent-but-not-great Allen movie can.
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