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For 5,173 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 4.3 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: 3,574 out of 5173
  2. Mixed: 1,333 out of 5173
  3. Negative: 266 out of 5173
5173 movie reviews
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    • 61 Metascore
    • 42 Critic Score
    He Named Me Malala
    It's a shame that Guggenheim's slickly produced documentary examines such an important and fascinating story with such underwhelming results.
  2. Freeheld
    Unfortunately, while Julianne Moore and Ellen Page go great lengths to make the central romance convince, Nyswaner's undercooked script and Peter Sollett's direction have the opposite effect, reducing Freeheld to a tired formula.
  3. The Dressmaker
    Fine performances by Kate Winslet, Liam Hemsworth and Judy Davis help matters a bit, but the final product is so oddly cobbled together that the entire thing should be left hanging on the rack.
  4. The Danish Girl
    The story suffers from a distracting aura of self-importance. Vikander brings a remarkable tenderness to her character (who, in real life, left her husband's side much earlier) but Redmayne's sharp gaze and toothy smile make it virtually impossible to ignore the actorly feat on display.
  5. Anomalisa
    A disorienting puzzle of a movie with many exhilarating pieces, Anomalisa nevertheless maintains a straightforward trajectory involving Michael's internal strife.
  6. Our Brand Is Crisis
    Green wisely cedes control to his actors, with Bullock as the main engine pulling the material along. But neither his direction, nor any of the formidable performances, can do much to alleviate the bumpy road of Peter Straughan's screenplay.
  7. The Martian
    As commercial entertainment, The Martian delivers on expectations of a "smart" blockbuster even as it adheres to the formula of a relatively simple feel-good drama. Though "Interstellar" aimed for more ambition, The Martian plays it safer: It's a brainy studio effort that sticks to familiar ground in more ways than one.
  8. Where to Invade Next
    Five years after his rambling "Capitalism: A Love Story," the filmmaker bounces back from one of his worst films with one of his best — a surprisingly endearing set of suggestions for a better tomorrow.
  9. Demolition
    Demolition spends its goodwill early on, eventually giving itself over to cheap-feeling twists and a problematic final act.
    • 67 Metascore
    • 91 Critic Score
    Tom at the Farm
    There's a dramatic cognitive dissonance at play, and Dolan takes for granted that the audience will be willing to suspend disbelief. That's where he missteps. In choosing not to build out Tom's psychological framework, Dolan risks alienating more than a few viewers.
  11. Black Mass
    As a movie, Black Mass often drowns its dramatic potential in a dreary atmosphere and grisly violence used to dubious effect. Depp, however, operates on another level.
  12. Suffragette
    Director Sarah Gavron's celebratory chronicle would inspire strong reactions even if it wasn't much of a movie, but the filmmaker compliments her powerful tale with the immediacy of her filmmaking and performances on the same level. It's an unabashed message-driven story that imbues the past with modern power.
  13. Steve Jobs
    While at times too over-the-top and operatic for its own good, those same flawed ingredients echo the rough edges that define the movie's iconic subject.
  14. Room
    Director Lenny Abrahamson seamlessly translates Donoghue's work into cinematic terms with his relentlessly compelling adaptation. However, the drama owes just as much to its two stars, Brie Larson and newcomer Jacob Tremblay, whose textured performances turn outrageous circumstances into a tense and surprisingly credible survival tale.
  15. Spotlight
    The overly earnest movie falls below the rich ambiguities that Keaton brings to the part, resulting in a measured drama so restrained it sometimes underserves the material. Where "Birdman" magnified Keaton's talent, Spotlight leans on it.
  16. Everest
    It lacks the same constant surprises of last year's "Gravity" or the visual poetry of "Mad Max: Fury Road," but Kormákur's movie nonetheless marks the rare fusion of effective craftsmanship with focused storytelling.
  17. The Iron Ministry
    The Iron Ministry turns the chaos of modern China into dense, frantic poetry.
  18. The Boy
    The scariest aspect of The Boy is the extent to which Macneill makes it possible to sympathize with the troubled protagonist — even as its haunting final shot hints at the horrors yet to come.
  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. Fantastic Four
    A superhero film with no power and worse special effects that attempts to rewrite a story that's yet to be told effectively.
  21. Shaun the Sheep Movie
    Clocking in at a slim 85 minutes, the whole thing flies by quite pleasingly, a warm and funny feature that reasserts the value of high quality visuals and attention to detail.
  22. Ricki and the Flash
    When Ricki and the Flash pierces its conventional trajectory with music, it gets more interesting. But the fluff surrounding it holds together well enough.
  23. Straight Outta Compton
    It’s biopic syndrome, this impulse to condense events to hit the high notes, to provide fans with recognizable stories, to essentially act as a greatest hits album, and it sinks the second half of an otherwise compelling, funny and extremely entertaining film with a beat all its own.
  24. A LEGO Brickumentary
    Directors Daniel Junge and Kief Davidson at least manage to cast a broad enough net to put the great big celebration in context: Legos are hotter than ever, and this new documentary effectively tells you why.
  25. The Young Kieslowski
    Those expecting a balanced perspective might be tickled by the couple's chemistry but disappointed when the film opts not to make that relationship more central to the plot.
  26. Staten Island Summer
    At 108 minutes, Staten Island Summer does wear thin around its middle, and it suffers from a conclusion that just never seems to know when to wind down for good, but it's an amusing feature that just might be destined for the kind of cult affection heaped on its ilk.
  27. Mission: Impossible - Rogue Nation
    Rogue Nation plays out like a sufficient rejigging of the same variables tossed around many times before, which is just enough to both celebrate the material and demonstrate its limitations.
    • 27 Metascore
    • 0 Critic Score
    Pixels
    As a bad movie, Pixels is extremely dismissible. The ways in which it is bad are hardly fun to pick apart, a la "The Room;" instead, they're just banal — the deeply predictable plot, the unfunny jokes, the constant low-level sexism and occasional spikes of racism that permeate the story.
  29. Five Star
    As a sociological experiment, Five Star offers plenty of talking points, but its real triumph is that the cast delivers, yielding a story in which the heightened suspense emerges organically from a gritty foundation of realism.
  30. Unexpected
    Unexpected doesn't take such a rosy approach to its conclusion, however, preferring to leave things more up in the air, a narrative choice that is more contemporary in its telling and more genuine in its feel.
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