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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. Atlas
    It’s like cinema made by Mad Libs, but worse, because we do realize actual people made this, not just randomized choices in a studio head’s office somewhere.
  2. Rumours
    Much of the chatter is a bit too big on smiling mirth to sustain a script with so few meaningful events, but every member of the cast is so adorable and committed to their schtick that you can’t help but enjoy watching them explore it.
  3. Motel Destino
    It’s sexy, disturbing, yet cold despite the simmering equatorial heat and hot lava of freely flowing attractions.
  4. HAIKYU!! The Dumpster Battle
    “Haikyuu!!” makes this climactic moment come across as rushed. Due to the short running time and amount of story to cover, this movie is not for newcomers at all.
  5. Grand Tour
    But for all the luminous beauty of its images, "Grand Tour" sorely lacks a current strong enough to sustain the thoughts that flow between them, compelling as some of those thoughts may be.
  6. Limonov: The Ballad
    The film’s excess of energy almost never burns out, pummeling you with the bacchanal brewing inside its lead.
  7. Eephus
    The film’s only villain is the passage of time, and its protagonists are simply facing the unpleasant realization that their era is ending sooner than their lifespans.
  8. Christmas Eve in Miller's Point
    Christmas in Miller’s Point is just happy to be an immaculately conceived vibe.
  9. The Balconettes
    It leans into the tonal chaos of life on earth, creating an impressively layered genre mishmash that reflects the complex reality of how women are seen in the world, and how they see themselves in return.
  10. Parthenope
    Preoccupied with the idea that a lack of self-knowledge is what makes people mysterious, Parthenope denies its namesake any real interiority, convinced that depriving us the chance to appreciate her perspective might somehow enhance her rhetorical value.
  11. Armand
    Even as Ullmann Tøndel’s two-hour movie grows a bit too winding and weird for its short film-scale conceit, Reinsve grounds the film’s more experimental, almost stagelike leanings in a constant state of heightened emotion that will make you love her even more than in “Worst Person” — and, even better, will make you scared of her.
  12. Anora
    Splenetically hilarious for more than two hours before reality catches up with it in the film’s unforgettable final scene, “Anora” has next to nothing to do with romance, and almost everything to do with the kind of working-class heartache that a modern Hollywood studio would never even try to get right.
  13. The Shrouds
    Sardonic, unsentimental, and often so cadaverously stiff that the film itself appears to be suffering from rigor mortis, as if its images died at some point along their brief journey from the projector to the screen.
  14. The Garfield Movie
    Call it a case of the Mondays, but this kitty needs to go way back to the drawing board.
  15. The Apprentice
    Clipped from the start and increasingly uncertain of its purpose as it fumbles toward the Trump we know, this origin story certainly isn’t as painful to watch as the future that it portends has been to endure, but it’s every bit as banal and unnecessary.
  16. Horizon: An American Saga - Chapter 1
    Costner is fully in traditionalist mode here, painting a quote-unquote sweeping American saga that feels like an expensive miniseries compressed into feature form.
  17. Emilia Pérez
    There’s almost nothing about “Emilia Pérez” that’s conventional — until the movie unravels into a third-act bit involving a hijacking, guns, and a live human body in a trunk. Which is just a reminder of where Audiard’s head really rests all along.
  18. The Substance
    An immensely, unstoppably, ecstatically demented fairy tale about female self-hatred, Coralie Fargeat’s The Substance will stop at nothing — and I mean nothing — to explode the ruthless beauty standards that society has inflicted upon women for thousands of years.
  19. Caught by the Tides
    Caught by the Tides” is by nature an imprecise film, tethered to the buoys that Jia has collected over the years and prone to drifting through time without any clear sense of where it might take it.
  20. The Surfer
    There is still much to enjoy and admire here if you can stay on the film’s wavelength without getting frustrated.
  21. Oh, Canada
    Schrader adapts the 2021 novel Foregone by Russell Banks into his own specific creation, and one that leaves viewers dizzied and lost by the chopped-up melancholy of it all.
  22. The Damned
    Tellingly, The Damned only threatens to become anything more than a ponderous — if immaculately convincing — Civil War reenactment when Minervini allows his characters to articulate their fading dreams of salvation in the clearest possible terms.
  23. Three Kilometres to the End of the World
    The feature, Parvu’s third, blends suspenseful procedural with family drama but is missing a key point of view: That of the victim, whose assault is a Trojan horse into the film’s more macro interest in how bigotry and conformity entwine, and how emotionally repressed adults deal with teen homosexuality when it hits close to home.
  24. When the Light Breaks
    When the Light Breaks is the rare film that might benefit from being a good deal longer. It’s certainly well made and has enough to say to have been assured of this critic’s goodwill for quite some time longer, and might have been able to explore the messy implications of its premise in an even more interesting way.
  25. Jim Henson Idea Man
    In a documentary landscape rife with both star-fronted documentaries and other hagiographic entries, Howard leans into honesty. The film is so much better for it, even as it can’t quite capture the full magic and scope of Henson’s life and work. What could?
  26. On Becoming a Guinea Fowl
    The scarring power of Nyoni’s film ignites from Shula’s eventual realization that she would rather torch her family to the ground than let them forget what happened.
  27. The Girl with the Needle
    Von Horn, however, cares for his characters and each is allowed a hardwon grace note. One leaves the cinema entertained and reeling, very unsure of what in any other context would be so easy to judge.
  28. Wild Diamond
    The screenplay itself fails to get inside Liane’s head as much as Khebizi and the film’s visual style do. You leave feeling like you only scratched the surface of who Liane is. You want more for her as much as she wants more from her small life.
  29. Bird
    Bird is not Arnold’s best film — how can you top the cross-country raptures of “American Honey” or the final synchronized dance to Nas in “Fish Tank”? But it’s certainly her most ambitious in terms of willingness to stretch her creative reach beyond the social-realist-only confines of some of her early work.
  30. In Our Day
    The simple film is a straightforward entry in Hong’s filmography that is unlikely to ever be held up among his true masterpieces. But its delightful execution of small details speaks to how clearly the artist understands his own strengths at this point in his career.
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