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For 5,179 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: 3,579 out of 5179
  2. Mixed: 1,334 out of 5179
  3. Negative: 266 out of 5179
5179 movie reviews
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  1. Happy Death Day
    When Landon moves away from the darker parts of the film, opting to play up the campier elements of a mostly silly story, Happy Death Day is the kind of dizzy fun as slasher horror can possibly be. Too bad then that all that goodwill has to reset every night, pushing everything back to square one just as it was getting good, murderously so.
  2. Untouchable
    There is precious little here that hasn’t already been more cogently unpacked somewhere else.
  3. Hyde Park on Hudson
    The actor's pathos and deadpan skills are buried in the material, which also suffers from a continuous lack of inspiration. It's high-minded entertainment with low ambition.
  4. The Captive
    A lazily plotted and largely generic thriller.
  5. Shell
    Some movies suffer because of bad timing. Shell wouldn’t be a very good movie under any circumstances, but it fares especially poorly against Coralie Fargeat’s The Substance, a better and more outrageous film that deals in very similar subject matter.
  6. Ballad of a Small Player
    Despite promising a welcome throwback to the sort of down-and-out milieu that authors like Graham Greene once put on the map, this Lawrence Osborne adaptation winds up feeling like nothing so much as a quintessential Netflix movie: Easy to watch and impossible to care about.
  7. Ready or Not 2: Here I Come
    All you’re left with is the echo of what was better before. You watch only able to wish Weaving was given more to work with than this, or, at the very least, greater room for her iconic scream to rattle you once more.
  8. Welcome To Marwen
    “The most original movie of the year?” Not quite. But sometimes, if a film is this hard to sell, perhaps that’s a sign that it shouldn’t have been made in the first place.
  9. Rhinegold
    If there’s a core flaw to Rhinegold, it’s that you walk out of it knowing a lot about its subject’s biography but almost nothing about who he truly is.
  10. Without Blood
    The sincerity of Without Blood can’t be denied, but alas, the road to mediocrity is paved with good intentions.
  11. A Tale of Love and Darkness
    Portman's screenplay shortchanges the dramatic potential of the material in favor of a by-the-numbers period piece.
  12. Ammonite
    Even in their most intimate scene, Mary and Charlotte and their love remain at a remove.
  13. The Grab
    Halverson is too far on the deep end to provide us with digestible storytelling, and Cowperthwaite, who spends the movie jumping in nonlinear fashion from one year to the next, is in no rush to make the larger picture easier to see.
  14. Dumbo
    Like many (or all) of the movies Burton has made this century, Dumbo is a shallow pop spectacle that’s forced to rely on its more superficial charms; unlike many (or all) of those other movies, this one actually has superficial charms on which to rely.
  15. Unlocking the Cage
    Qhile the 90-year-old Pennebaker doesn't appear to deviate from the observational aesthetic that has defined his life's work, Unlocking the Cage is nevertheless an ill-fitting first for he and his partner: an issue-based film.
  16. Fantastic Beasts: The Secrets of Dumbledore
    The series’ third outing, Fantastic Beasts: The Secrets of Dumbledore, falls into precisely the same traps as its predecessor, offering up an unwieldy, mostly unsettling mash-up of adult themes and childish whimsy, made still more inscrutable by too many subplots, too many characters, and a tone that veers wildly off-course at every possible turn.
  17. Karate Kid: Legends
    In tying its story to the saga of Daniel LaRusso, Karate Kid: Legends resorts to repeating his journey entirely, leading to a martial arts film that has limited new moves compared to what audiences have seen 40 years ago.
  18. Adulthood
    Alex Winter’s amusing but slight film is a wacky romp about intergenerational trauma and cycles of abuse, though that’s pretty obvious from any given promotional image. As crazy as the movie purports to be, there’s never an unexpected moment. Thankfully, this turns out to be less of a problem than it should be.
  19. Judy
    Zellweger inhabits the role of the jaded, soul-searching musical icon reasonably well within a dreary and unremarkable saga that finds her grappling with her past, contending with pill-popping addictions and a broken family. It’s a familiar story that Judy struggles to freshen up, at least until Zellweger takes the mic.
  20. Sarah's Key
    Sarah's need to save her brother provides the initial raison d'être, but with the mystery is resolved early on Sarah's Key turns into a flimsy meditation on grief.
  21. Red Hook Summer
    It's painful to watch Red Hook Summer stumble, because the man behind it has tried so hard to get his groove back. However, it's energizing in the fleeting moments when he does just that.
  22. Jewel Thief - The Heist Begins
    The indisputable highlight of “Jewel Thief” is watching Khan enjoy himself (if he’s not, that just makes the acting more brilliant) even when the filmmakers don’t seem to encourage it.
  23. The School for Good and Evil
    Fans of Soman Chainani’s popular fantasy series might feel as if a giant bone bird swooped out of the sky and carried them to streaming heaven, but not even Charlize Theron’s Mad Hatter cosplay or Michelle Yeoh’s cameo as a professor of smiling will be enough to enchant a wider audience to such a painfully overworked saga of friendship.
  24. Unicorn Store
    Too adult for kids, too childlike for adults, and too muddled for the motley lot of misfits and dreamers who just want to think different.
  25. Aftershock
    Aftershock has no earth-shattering revelations to make its mayhem stand out in the wreckage.
  26. Diary of a Chambermaid
    Benoît Jacquot’s The Diary of a Chambermaid is a gorgeously mounted and dramatically inert bit of fluff that drapes itself over a smoldering Léa Seydoux but never manages to catch fire.
  27. Lights Out
    Sandberg unquestionably has an eye for a great horror motif — and, given the frequent use of absolutely gut-churning ambient sounds and hair-raising scratching noises, an ear for it, too — and he’s assembled a strong cast to tell Heisserer’s expanded story, but even those smart decisions and clear talents can’t push Lights Out to brighter heights.
  28. The Kid
    A diverting Western that’s almost worth seeing for the unsaddled performances that director Vincent D’Onofrio gets from his cast, The Kid only makes a few small adjustments to the dustiest of American genres, but these errant wrinkles — a far cry from any serious revisionism — provide much of the fun.
  29. Godzilla x Kong: The New Empire
    This goofy-ass, clumsily assembled Saturday morning cartoon of a movie might as well be called “Godzilla Minus Everything,” if only because the more accurate “Godzilla Minus Everything Plus Dan Stevens in a Hawaiian Shirt” wouldn’t fit on a marquee.
  30. Being the Ricardos
    While the filmmaker’s affection for full circle moments can be charming, within the context of “Being the Ricardos,” it all feels like a cheat. The film might not opt to get as obvious as Lucy muttering to herself, “Yes, I do love Lucy!,” but it gets damn well close, and that’s sillier than anything Ball ever dreamed up.
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