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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. Linda Ronstadt: The Sound of My Voice
    A maddeningly shallow look at Ronstadt’s remarkable life.
  2. On Body and Soul
    By placing vastly different people into a situation in which they find common ground, it highlights the tantalizing idea that the minutiae of day-to-day problems matters less than the prospects of escaping them through companionship.
  3. Buzzard
    Buzzard is among the first great American satires of the 21st century, its scathing indictment of capitalism delivered as a prolonged, disorienting punchline.
  4. God's Country
    Julian Higgins’ excellent film constantly dangles redemption in front of our faces, begging us to imagine a better world, but ultimately delivers a stark reminder of how bitterly divided the country is.
  5. Grass
    Much less consistently enjoyable than many Hong films twice its length, Grass compensates for its dramatic slackness and deviant sobriety by honing in on the ideas that its director’s work often skirts around.
  6. Apolonia, Apolonia
    While Glob took exception with the assessment that Apolonia’s personality was more interesting than her work, her surface level portrait of her as both an artist and as person ironically upholds that very statement.
  7. The Mysterious Gaze of the Flamingo
    Most of all, it’s about the depressing reality that some of us are capable of holding both of those extreme views about a person without noticing any level of contradiction. There might be no fixing such a fundamental flaw in the human condition, but “The Mysterious Gaze of the Flamingo” does an admirable enough job of dramatizing it.
  8. Personal Shopper
    This is a measured, richly ambiguous work about the subjective process of grief — masquerading as a ghost story — that experiments with the minutiae of film language as only a master of the medium can do.
  9. Ailey
    As a personal portrait, “Ailey” is lacking for charming anecdotes or nuggets of wisdom from the artist himself. But a true artist speaks through his work, and it’s appropriate that the revelations in “Ailey” arrive via the dance scenes.
  10. The Teacher
    Jan Hřebejk’s The Teacher is a sardonic, richly seriocomic morality play that uses a delicate touch to explore why communism never seems to work out in the long run.
  11. Babyteeth
    Babyteeth is the kind of soft-hearted tearjerker that does everything in its power to rescue beauty from pain.
  12. The Jungle Book
    It’s a delightfully-executed technological wonder, which is exactly the expectation of the moment.
  13. Slalom
    Charlène Favier’s Slalom is a familiar story of sexual abuse, but one told with such bracing intensity that it snaps across your face like a blast of cold mountain air.
  14. The Hunting Ground
    The Hunting Ground is at its best when it stops dwelling on variations of the problem and points toward a solution.
  15. While We're Young
    While We're Young is a clear-eyed satire of intergenerational tension that derives much of its comedy from a series of moments in which its mid-forties couple attempt to mesh with a younger crowder.
  16. Inu-oh
    At heart, Inu-Oh is a film about storytelling’s power to keep the past alive, and while Yuasa’s carnivalesque extravaganza can be too slippery to hold onto at times, it always proves unforgettable in a way that serves that ultimate purpose.
  17. Urchin
    Dickinson clearly hopes this story will make it that much harder for people to dehumanize the homeless population, but the power of his film — and the promise of his intelligence as a filmmaker — is that it recognizes how a portrait of mottled ambivalence might better accomplish that goal than a million cheap sops of empathy.
  18. Nagi Notes
    If Nagi Notes is so watchful and unforced that it often seems as though it isn’t looking for answers — or for anything — as hard as it should be, Fukada’s elegant plotting gradually allows this quiet film to assume the forcefulness of a full-throated shout.
  19. Mediterranea
    It renders a global crisis in strikingly intimate terms.
  20. Miss Sharon Jones!
    Clearly a dynamo in both her life and work, observing the juxtaposition between pre-cancer Jones (the film is filled with excellent performance footage of her over the years) and the still-mending Sharon is profound; Kopple resists making cheap comparisons between the two, instead opting to let the footage speak for itself.
  21. Sly Lives! (aka the Burden of Black Genius)
    As much as Questlove probes his many interviewees with questions about the expectations and responsibility that comes with “Black genius,” his film doesn’t live up to the ambitious framework he puts forth.
  22. Dallas Buyers Club
    The narrative only really stumbles because its tone never manages to convince on the level that McConaughey's performance eventually does. With its subdued approach, Dallas Buyers Club stops just short of an emotional payoff.
  23. Better Man
    If Bob Fosse had fallen in love with CGI instead of jazz hands, this is probably the kind of movie he would’ve made.
  24. Left-Handed Girl
    Regardless of some of the screenplay hiccups and deus ex machina plopped from the sky, “Left-Handed Girl” still announces Tsou as a confident directorial talent with a rare exuberance.
  25. Unlovable
    It’s a fluffy spin on the recovery genre, but it’s a fresh one, and deGuzman’s hard-won life experience adds veracity and honesty to the snappy narrative. She’s also just plain wonderful to watch, providing a tough character in a tough situation with the maximum of grace.
  26. Win It All
    By making a satisfactory crowdpleaser that doesn’t overextend itself, Swanberg has delivered his most traditional movie to date — and for this prolific filmmaker, who spent ages defying conventions, that’s nothing short of a radical step forward.
  27. The Feeling That the Time for Doing Something Has Passed
    The Feeling That the Time for Doing Something Has Passed lacks for drama in its portrayal of the quotidian realities of sexual kink, but Arnow’s voice is distinctive, shrewd, and spiky enough to keep it afloat.
  28. The Promised Land
    This sweeping, stagy movie sags and drags, never quite able to shake the weight of its own loftiness.
  29. Zero F*cks Given
    Zero Fucks Given is refreshingly unwilling to be prescriptive or teach Cassandre any moral lessons, but it often struggles to crystallize how she finds the strength to seize control over her own flightplan.
  30. Ornette: Made in America (1985)
    Ornette isn't just a love letter to the liberty of jazz rhythms; it excels at expressing them.
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