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For 5,167 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% 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: 3,568 out of 5167
  2. Mixed: 1,333 out of 5167
  3. Negative: 266 out of 5167
5167 movie reviews
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  1. Bring Them Down
    Mostly, though, it does only that: Shock. Basic, trite, and without any hope for anything better ever happening.
  2. The Wild Robot
    The result is all the good, big words we want to hear about cinema aimed at our youngest audience members: it’s heartening and true and a little sad and incredibly inspiring with a big, ol’ message about the power of community and coming together in the face of major adversity.
  3. Nightbitch
    Marielle Heller’s version of the story — Yoder is listed as a co-writer — could have taken the magical realist element out entirely, and the film would have played exactly the same. The body horror is downplayed to the point of being functionally nonexistent.
  4. Matt and Mara
    Radwanski’s Toronto-set story isn’t quite a linear, didactic affair drama either, but rather, uses its characters as points of rumination on the present, and its fragile nature, embodied by two people with a complicated past and, most likely, no real future.
  5. Hard Truths
    Pansy’s general distaste for humanity would make Mr. Burns seem big-hearted by comparison, but Leigh’s faith in the root humanity of Jean-Baptiste’s performance — and in the hurt that guides it through even the broadest moments of humor — allows him to indulge in a variety of laugh-out-loud setpieces without any risk of losing Pansy to caricature.
  6. Baby Invasion
    Baby Invasion has a clearer focus this time: It’s to make you, the viewer, feel bad, and often wanting to beg to the screen, “Please god let this end,” or perhaps more aptly, “end me.” Here is a filmmaker who, these days, resents his own audience. Here is a movie for no one.
  7. April
    In this remarkable and shudderingly unresolved film, blessings and despair tend to become one and the same, two limbs of a shared body that Nina’s patients aren’t allowed to control for themselves.
  8. Winner
    [A] frustratingly glib biopic.
  9. Nutcrackers
    We know where this is going. That doesn’t dilute the emotional power of it, of a man seeing where his heart really is and what that means in practice.
    • 82 Metascore
    • 50 Critic Score
    Apocalypse in the Tropics
    Costa is, above all, an excellent chronicler of the moods swirling in her nation, but there is a flipside to the way she paints the picture.
  11. And Their Children After Them
    The humble visual language is a vessel for a rich human drama. Bear with what sometimes resembles a television movie for the slowburn panorama of life it captures.
  12. The Front Room
    Overwrought with visual style but relentlessly one-note, The Front Room is willfully annoying and dubious in its purpose.
  13. Joker: Folie à Deux
    Phillips struggles to find a shape for his story without having a Scorsese classic to use as a template, and while a certain degree of narrative torpor might serve “Folie à Deux” on a conceptual level, its turgid symphony of unexpected cameos, mournful cello solos, and implied sexual violence is too dissonant to appreciate even on its own terms.
    • 76 Metascore
    • 83 Critic Score
    Rebel Ridge
    It’s a muscular, high-octane story about cops living above the laws they’re paid to enforce, and growing more desperate and dangerous with every threat to their unchecked power.
  15. Pavements
    Pavements is an important documentary. It’s a reminder that the fourth (and fifth and sixth) wall can be smashed, that the rock doc can be reinvented. And that when the message is meta for meta’s sake, why not make the medium that way, too?
  16. Queer
    Guadagnino wants not only to expand your consciousness as a moviegoer, but to cut you open and rearrange all the parts of you that see and feel things when you watch a film at all.
  17. I'm Still Here
    The idea of them getting justice never feels on the table, but the film instead is a path out of the madness of a system where to simply have what happened to their father admitted would fill some of the void he has left behind.
  18. The Room Next Door
    Elegant and confounding in equivalent measure, Pedro Almodóvar’s first English-language feature could’ve used a finishing touch from an American script supervisor.
  19. Nickel Boys
    Pure sense and subjectivity in a way that evokes the same visual magic of Ross’ documentary work, Nickel Boys so viscerally and fundamentally centers the experience of its young Black characters that even the most racist brand of revisionist history could never hope to deny their truth.
  20. ¡Casa Bonita Mi Amor!
    Parker and Stone joked that they’ll have to make a lot more TV shows to pay off their ill-fated investment, but it’s entirely possible that Casa Bonita will be a bigger piece of their legacy than anything in their filmography.
  21. Wolfs
    Even if Wolfs is a light affair in the end, it’s a smashing good time, confidently told and unpredictable, with two charismatic leading turns that are nearly even upstaged by Abrams.
  22. September 5
    September 5 works most powerfully as a behind-closed-doors, single-room thriller, even as what we see on a wall of monitors is almost too unreal to believe.
  23. Saturday Night
    Forget in-jokes or fan service, this is a movie so long on cos-play (much of it brilliant) and short on character development (none of it interesting) that it requires a casual knowledge of the show’s lore to understand, let alone to enjoy.
  24. The Brutalist
    Corbet and Fastvold’s script is left to engineer a reductive non-climax that illustrates the relationship between capitalist and laborer in the most obvious terms imaginable.
  25. The End
    There’s a thin line between kindness and complicity, and “The End” achieves its sneakily immense power by dancing all over it with an ambivalence that Oppenheimer’s previous work never allowed for.
  26. Conclave
    Conclave is far too entertaining to dismiss in a puff of white smoke, even if the film might be a bit too convinced of its own dramatic import.
  27. Cloud
    This riveting and highly unusual shoot-em-up finds Kurosawa returning to his roots, only to discover that psychological terror isn’t quite as abstract as it used to be.
  28. The Order
    The Order is one of those: yet another Movie We Need Now, but the director inadvertently makes the case that maybe we don’t.
    • 63 Metascore
    • 67 Critic Score
    Piece By Piece
    Piece by Piece is ultimately surface-level entertainment, a light, visually-inventive ride without much to offer its audiences beyond a reaffirmation on the values of hard work and believing in one’s self.
  30. The Friend
    It’s the sort of witty, wise, and warm character study we seem to be running out of these days. And that’s just when it comes to its standout dog star, the Great Dane (emphasis on great) Bing.
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