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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. Loveless
    Loveless proceeds like a messy younger sibling of Noah Baumbach's "Greenberg" as it tracks Andrew's ongoing denial of the mounting pressures to settle down, many of which come from his reasonably sane ex, Joanna (Cindy Chastain).
  2. Encanto
    Encanto feels like one of the Mouse House’s more emotionally complex animated features, even if its story ultimately tries too hard to wrap up that nuance in a very tidy bow.
  3. Farewell Amor
    The actors’ gifts are all heightened by Msangi’s delicate touch in this empathetic portrait of immigrant life in America that is, refreshingly, less interested in big drama than in a family quietly building itself back up when it may be too late.
  4. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    The film arrives at its last shot with a sense of purpose, but Cedar’s clumsy plotting and uncharacteristically sterile compositions suggest that he’s charted the least enjoyable route to the film’s satisfying finale.
  5. Ghost Trail
    Ghost Trail is a film that refuses to let anyone treat the plight of Syrians like a thing of the past, or to delude themselves into thinking that the war ends once Syrians are relocated to safer countries.
  6. Mistress America
    For all the energy of Gerwig and Kirke's shared chemistry and the lively dialogue that compliments it, the story of Mistress America never keeps pace, ultimately sagging into formula to the detriment of the potential displayed by its compelling protagonists.
  7. OBEX
    OBEX is a warm yearn for simpler times, told by a distinctive cinematic voice.
  8. Border
    Abbasi grounds the narrative in an emotional foundation even as it flies off the rails.
  9. Ali & Ava
    Barnard once again proves herself the bard of the British working class. In Ali & Ava, she abandons her occasionally bleak realism for a kind of stubborn hopefulness, letting the delight of unexpected connection break through the storm clouds.
  10. Emily the Criminal
    You always know a Plaza performance will be good, but over the past few years, Plaza has seemed to make it a priority to surprise her audiences with just how good she is.
  11. Frank
    Though more in love with its silliness than the insights buried inside them, Frank works to amusingly irreverent effect when combining the two.
  12. Easy Money
    While overlong and occasionally too reliant on a formulaic set of motives to drive the action forward, Easy Money retains its suave composure right through the engrossing finale.
  13. The Kindergarten Teacher
    Gyllenhaal has been too good too often to label any one of her performances as her best, but she’s certainly never been better than she is here.
  14. The Naked Gun
    While it’s a mild shame “The Naked Gun” peters out a little bit toward the end (at least before rebounding during the credits), it’s even more of a shame that it has to end at all.
  15. Ennio
    There’s no doubt that Tornatore could have created a more artistically self-possessed homage to his most iconic collaborator, but then again, didn’t he already do that with “Cinema Paradiso?”
  16. What Happened, Miss Simone?
    Away from the confessions that induce shock and the divulgences that elicit sympathy, Garbus leaves ample space for lengthy sequences of Simone's performances.
  17. Bodied
    Bodied is pure zany fun disguised as a pure provocation, and sometimes vice versa, mainly because any attempt to characterize its narrative as problematic proves its point.
  18. Sleepless Night
    Despite the ongoing momentum, Sleepless Night never loses touch with its story.
  19. My Little Sister
    My Little Sister regains its footing in its final scenes, eschewing the expected for the raw emotion of real life.
  20. Blaze
    Foley never wanted to be a star, shining only for itself. He wanted to be a legend, and live forever. Thanks to Ethan Hawke’s slippery, whiskey-soaked biopic of the late musician — and newcomer Benjamin Dickey’s casually spellbinding lead performance — he’s closer than ever to getting his wish.
  21. Adrienne
    Adrienne is a beautiful testament to the power of Adrienne Shelly and will hopefully inspire fans, new and old, to revisit her work. Andy Ostroy’s documentary certainly emphasizes the emotional and sentimental, but that intimacy bonds the audience to Shelly as a woman. Bring tissues.
  22. Living the Land
    Huo’s project is to portray these social relations and material disparities with crispness, therefore the image is sharp, and though expansive, also concise.
  23. 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.
  24. The Punk Singer
    Edited in a frenzied mashup of concert fragments and off-stage exchanges, The Punk Singer generally overcomes its rough production values by realizing the energy of Hanna's achievements in terms of her passion and physical prowess.
  25. Capernaum
    Capernaum is a movie that wants its audience to empathize with its protagonist so intensely that you agree he should never have been born. It’s a fascinating (if obviously counterintuitive) approach, but one that’s frustrated by the literalness with which Labaki unpacks it.
  26. It's Not Yet Dark
    It’s the questions that Fenton can’t answer — maybe even the questions he doesn’t mean to ask — that make It’s Not Yet Dark such an illuminating experience.
    • 75 Metascore
    • 100 Critic Score
    It's Always Fair Weather
    One of the most unique and honest musicals of the 20th Century.
  28. Martha Marcy May Marlene
    Like "Afterschool," Durkin's first feature explores the dangerous extremes of youth vulnerability.
  29. Creep 2
    Whereas “Creep” suggested that the annoying man-child is scarier than you think, Creep 2 shows just how much scarier he gets with age.
  30. Dina
    Whereas most docs about “different” people are content to flatter our empathy, Dina aims to deepen it.
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