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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. A Haunting in Venice
    The biggest selling point for Branagh’s Poirot movies has always been his clear passion for the source material and willingness to let Christie’s thrilling stories to stand on their own. But his slick Hollywood adaptations keep getting stuck in a purgatory that offers neither the excitement of the “Knives Out” movies nor the dry English charm of the original BBC Hercule Poirot specials. Perhaps the public service aspect of briefly returning some of Christie’s best works to the zeitgeist (and hopefully pointing some new readers towards her vast library) is sufficient justification for the series’ mediocrity
  2. Reptile
    Singer’s Reptile, distributed by Netflix, wants to be a David Fincher procedural with Steven Soderbergh’s paranoia, but it’s a fangless homage without suspense, logic, or shame.
  3. Dicks: The Musical
    When enthusiasm alone can no longer keep the ship afloat, sheer audacity rides to the rescue, as “Dicks” ends with an inevitable but satisfying eruption of bad behavior that feels so good — one that leaves you wondering just how much funnier and more transgressive this movie could have been had it allowed itself to go that hard from the start.
  4. Green Border
    Its three narratives never fully work together, even as they begin to interlink. Its moments of true emotional poignancy work well, but are all too rare in a film that otherwise has plenty to say.
  5. Finally Dawn
    I’m not quite sure how this group of actors came together or how any of the ideas coalesce into something that a) makes sense or b) is meant to make us feel anything. It’s impenetrable with no intellect: a true curio in the worst way.
  6. The Promised Land
    This sweeping, stagy movie sags and drags, never quite able to shake the weight of its own loftiness.
  7. Dumb Money
    This energetic, enjoyable movie does not set out to break ground, but in putting centerstage those who are typically left on the sidelines, the movie emerges as a rousing success.
  8. The Boy and the Heron
    While this dream-like warble of a swan song may be too pitchy and scattered to hit with the gale-force power that made “The Wind Rises” feel like such a definitive farewell, The Boy and the Heron finds Miyazaki so nakedly bidding adieu — to us, and to the crumbling kingdom of dreams and madness that he’ll soon leave behind — that it somehow resolves into an even more fitting goodbye, one graced with the divine awe and heart-stopping wistfulness of watching a true immortal make peace with their own death.
  9. My Big Fat Greek Wedding 3
    My Big Fat Greek Wedding 3 goes for the cheap laughs and the tacky attempts at pulling heartstrings.
  10. Origin
    DuVernay’s film is unable to fuse melodrama and academia into a single narrative, even with such rich source material and as fascinating a subject as Isabel Wilkerson. The only possible conclusion it invites is every film critic’s least favorite sentence: Just read the book.
  11. The Nun II
    If The Conjuring Universe is a horror force you want to believe in again, then The Nun II will bring you back to the faith.
  12. Rotting in the Sun
    You almost wish there was a little more magic, but that’s maybe because some of the truths Silva comes up close to are so skin-crawlingly real that you want to cover them up.
  13. DogMan
    While this film probably needed more time in the storytelling doghouse, Landry Jones’ performance is a lovely watch.
  14. Evil Does Not Exist
    Evil Does Not Exist is a slow-moving film with few epiphanies and no answers to the questions it posits.
  15. Rustin
    We can appreciate the righteous good of putting something like “Rustin” into the world at the same time as we lament how sorely the film lacks its namesake’s inspirational flair for defying convention.
  16. The Bikeriders
    The singular vibration that Nichols brings to the golden age of motorcycles gives way to the all-too-familiar entropy that ended it, as a movie that busts out of the gate as some kind of new American classic ultimately runs out of gas on the side of the highway.
  17. Hit Man
    Powell and Arjona have fizzy chemistry with each other, which isn’t much of a shock for two people who could probably get a spark going with a paper bag during a rainstorm, but it’s fun to watch both of their characters throw themselves into their new lives.
  18. The Beast
    The film’s true power stems from and speaks to our specifically present condition as people beset on all sides by the fears of our own imagination. By the trauma of something that already happened, or the terror of something that might.
  19. AGGRO DR1FT
    I was bored or exasperated by almost every minute of “Aggro Dr1ft,” but there are only 80 of them, and not a single second of this AI-inflected nightmare experiment feels insincere.
  20. Priscilla
    Priscilla may not be one of the better movies that Coppola has ever made . . . but it stands apart from the rest of her work as the uniquely sensitive and self-honest portrait of a girl who starts to realize that she may have outgrown her greatest fantasy.
  21. The Holdovers
    The vibes are immaculate from the start and only grow more so as the characters gradually start to become as detailed as the world that “The Holdovers” constructs around them.
  22. The Killer
    The Killer is nothing if not committed to its own one-note bit, an existential nihilism that stays the same even as the protagonist, in a mostly silent Michael Fassbender performance, starts to change. It’s as unfeeling as any Fincher thriller, at once predictable in its simplicity but also strangely daring because of it.
  23. Saltburn
    Another smirking and vaguely satirical psycho-thriller that wants to have its cake, eat it too, and then soil the plate for good measure, Fennell’s immaculately crafted follow-up to “Promising Young Woman” might have a lot more fun pushing your buttons if it had any clue how to get under your skin.
  24. Maestro
    As a study of how the Bernsteins’ near-three-decade marriage endured Lenny’s gayness and genius, Maestro succeeds off the chemistry between Mulligan and Cooper, but the film often looks and feels too fussed-over, almost too precisely manicured, to ever erase its own parameters as a linear biopic.
  25. Poor Things
    Poor Things is the best film of Lanthimos’ career and already feels like an instant classic, mordantly funny, whimsical and wacky, unprecious and unpretentious, filled with so much to adore that to try and parse it all here feels like a pitiful response to the film’s ambitions.
  26. All of Us Strangers
    Haigh tells this potentially maudlin story with such a light touch that even its biggest reveals hit like a velvet hammer, and his screenplay so movingly echoes Adam’s yearning to be known — across time and space — that the film always feels rooted in his emotional present, even as it pings back and forth between dimensions.
  27. The Wonderful Story of Henry Sugar
    While The Wonderful Story of Henry Sugar may be, in some respects, the most literal Dahl adaptation you could possibly imagine, the true author of this project is never in doubt.
  28. Ferrari
    Ferrari is more gritty than glossy even at its most tightly coiled, with Mann’s searching camera never quite fixed in one place.
  29. El Conde
    El Conde isn’t big on subtlety (Lachman’s rich cinematography offers the film its only shades of gray), and so it feels like a missed opportunity that Larraín didn’t squeeze more juice from the all-too-relevant fact that deposing a fascist from power isn’t the same as defeating them.
  30. The Equalizer 3
    If this is the end of The Equalizer, it’s a good one, a high note that overcomes confusion, complications, and convolutions to give everyone — Robert, Emma, kind-hearted Italians, the audience — a lavish adventure to remember.
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