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For 5,213 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 La Gradiva
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,602 out of 5213
  2. Mixed: 1,343 out of 5213
  3. Negative: 268 out of 5213
5213 movie reviews
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  1. Destination Wedding
    Destination Wedding makes the case that the two-hander isn’t dead, even if it struggles a bit when forced to come to a neat, movie-ready conclusion.
  2. Life of the Party
    Life of the Party is proof that even the funniest actors need good material, which makes it all the more disappointing that McCarthy wrote the script with director Ben Falcone, who is also her husband.
  3. Lonely Planet
    While Grant’s film nails certain elements necessary to the genre (like casting a pair of likable, capable stars who generate some real heat), the film is also prone to falling into just as many bad habits and limp tropes synonymous with big screen romance.
  4. 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.
  5. Samaritan
    In a movie world crowded with everyone eager to make their own special superhero stand out, this one doesn’t pack much of a punch.
  6. Driver's Ed
    There are a few laughs to be found in the film, little moments of wit or weirdness, but the film is otherwise a mirthless drag rescued only by its bright leads. Maybe let them make the movie next time.
  7. The Tomorrow War
    It’s enough to make you long for the days when blockbusters of this scale weren’t afraid to make strong choices, especially the ones about how we’re all going to die if we don’t.
  8. 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.
  9. American Assassin
    In American Assassin, the violence is surprising and brutal. However, its impact is stymied by a predictable script and action sequences that feel like a watered-down version of “John Wick.”
  10. The Son
    The Son is too suffocated by the severity of its writing and the sterility of its environments for the film’s characters to grow beyond the scenarios they represent.
  11. Uncharted
    Perhaps the film’s Walmart approach to its action would’ve been more forgivable if the Uncharted games weren’t so frequently suffused with Spielbergian flair, just as the film’s archetypal characters may have been less underwhelming had the games not managed to establish 10 times the pathos with none of the same flesh and blood.
  12. Jack and Diane
    The mystical allure of this long-awaited "lesbian werewolf movie" turns out to have more value than the real thing.
  13. House of Spoils
    The filmmakers’ decisive presentation is enjoyable enough as an entrée served straight to streaming.
  14. DogMan
    While this film probably needed more time in the storytelling doghouse, Landry Jones’ performance is a lovely watch.
  15. Justice League
    The resulting 119-minute pileup of showdowns and one-liners is an undeniably tighter, more engaging experience. It’s also a tired, conventional attempt to play by the rules, with “hold for laughs” moments shoehorned between rapid-fire action — a begrudging concession that the Marvel formula works, and a shameless attempt to replicate it.
  16. The Platform 2
    If The Platform 2 iterates on the original idea in a way that proves this property’s franchise potential, it falls apart in almost the exact same way as the previous film, abandoning the broadly representational nature of its premise in favor of the maddeningly specific mythology of its silly non-characters.
  17. A Minecraft Movie
    It’s a real credit to Black’s irrepressibly unique comic energy that “A Minecraft Movie” never feels quite as hypocritical as it should.
  18. The Paperboy
    Lee Daniels' The Paperboy is a rare case of serious commitment to outright silliness.
  19. Unforgettable
    Unforgettable treats this central struggle over the heart of a family in the same way that a recent Ken Watanabe character does, by surveying the battlefield and coming to a simple, definitive conclusion: “Let them fight.”
  20. There's Someone Inside Your House
    A slasher movie could be a compelling framework through which to subvert the (timeless but super Twitter-ified) temptation to reduce people to the worst thing they’ve ever done, but There’s Someone Inside Your House isn’t sharp enough to meaningfully subvert our bloodlust or eviscerate our need for blame.
  21. Here and Now
    For an homage boasting a far more fatal outlook than Varda’s original, it’s frustrating and kind of perverse that Blue Night should be so gentle.
  22. Wonder Park
    A sugar-addled My Neighbor Totoro ripoff with a beautiful message and a hideous everything else.
  23. The Electric Kiss
    Unable to neatly reconcile its two narrative premises, the film loses momentum, pushing well past the brisk runtime and zippy pace this kind of material usually depends on. That overextension also affects tone, as Salvadori never quite settles on how sharp the film should be.
  24. 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.
  25. The Lie
    Sud’s film is a master class in bad decision-making, improbable choices, and overwrought acting.
  26. Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World
    It’s almost impressive that Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World is so dull.
  27. Flower
    At times, [Deutch's] performance is perhaps even too strong for the film that’s cobbled together around it, as the actress so convincingly indicates at Erica’s vibrant and complex inner life that she embarrasses the script’s feeble attempts to diagnose and solve her character.
  28. The Invitation
    The pace picks up when the slashing finally begins in the third act, but it’s too little, too late to get the blood going.
  29. The Prodigy
    The film is littered with jump scares, but most of them offer up shocking twists that land with genuine payoff: the score winds up, the framing gets tighter, the shots linger for longer, and when a different film might serve up a jump scare with a giddy “oh, it was nothing!” laugh, The Prodigy delivers something truly distressing.
  30. The 15:17 to Paris
    Eastwood remains a deeply purposeful filmmaker, and The 15:17 to Paris clearly has a plan — it builds to a riveting showdown, with a unique kind of payoff enhanced by the authenticity of its design. It’s a fascinating gamble even when it doesn’t hold together.
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