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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. Drive-Away Dolls
    Fiery, fiendish, and flawed, “Drive-Away Dolls” could do more and less, but delivers definitive prove that these atypical authors of lesbian film have something and want to use it.
  2. The Blue Trail
    Mascaro’s wry and witty new film will remind savvy audiences of bleak apocalyptic films about humanity’s potential loss of feeling against technologies that crush them.
  3. Kill
    Kill makes very, very good on its goofy title by the time all is said and done, but perhaps the most surprising thing about Bhat’s action extravaganza is that it inverts expectations without ever getting off-track.
  4. A Most Violent Year
    The filmmaker is ultimately better at constructing nuanced environments and troubled figures than making every piece of the equation gel as a whole. But that's a minor issue in the overall tapestry of Chandor's carefully designed world.
  5. 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.
  6. Woman at War
    Erlingsson has created a winsome knickknack of a movie that manages to reframe the 21st century’s signature crisis in a way that makes room for real heroism.
  7. Finch
    A broadly safe film like “Finch” might roll into its destination with an ease that belies the risks of getting there, but sometimes the real treasure is the friends we build along the way.
  8. Beginning
    In Beginning, the borders of the frame aren’t just the iron bars of a jail cell, they’re also the garden walls of Eden, the tempting hiss of the snake, and the angel of the lord who interrupted Abraham from killing his son.
  9. Night Moves
    No stranger to crafting excessive anticipation, Reichardt has funneled that skill into thriller clothing. However, like all of her output, nothing is as simple as it looks.
  10. One Of Them Days
    Throughout the very funny film directed by Lawrence Lamont and written by Syreeta Singleton, you are treated time and time again to the brilliance of Palmer — how she can transform any bit of dialogue into a laugh line, or make her eyes glimmer with gags.
  11. The Juniper Tree
    A film that’s dark and delightful and ripe for rediscovery.
  12. Crimson Peak
    Beyond its surface pleasures, Crimson Peak also confronts the demons of modern entertainment. The movie frightens and surprises us in familiar ways, but at the same time issues a plea for restraint.
  13. The Trip
    The central appeal of The Trip is that it's only a comedy in bits and pieces. Overall, however, Winterbottom constructs a thoughtful and generally sad portrait of Coogan's persona as a man unsure of his next move.
  14. William Shatner: You Can Call Me Bill
    There’s a candor and a rawness here that’s inherently compelling.
  15. The Divide
    The Divide manages to transcend its numerous flaws while indulging them: No matter where it falters, the underlying purpose stays put.
  16. To the Wonder
    To the Wonder renders the familiar terrain of romantic dysfunction on a grand scale. Malick haters may not change their tune, but at least they can admit that To the Wonder maintains a consistent thematic focus.
  17. I Know What You Did Last Summer
    Harpoons have never been more terrifying than they are here, and Robinson and Lansky expand Williamson’s once quaint universe so dramatically that it can be shockingly hard to see the Fisherman coming.
  18. One Lucky Elephant
    Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.
  19. Look Into My Eyes
    Entrancing from the start but slow to reveal the full scope of Wilson’s vision, Look Into My Eyes locks into that furtively cinematic essence by framing its psychic readings with a stiff naturalism that recalls the interview scenes in Hirokazu Kore-eda’s “After Life.”
  20. MATANGI/MAYA/M.I.A.
    A lucid crystallization of both Arulpragasam’s private life and her public mission, Matangi/Maya/M.I.A. offers an intimate profile of a righteously modern renegade without ever feeling like propaganda or a plea to stream her latest album on Spotify.
  21. Miss Americana
    As Swift observes in the movie, powerful women are given the almost impossible task of being “strategic” but not “calculating,” and Wilson is so good at splitting the difference that some of her documentary’s most humanizing moments are beautiful for how they contradict Swift’s intention.
  22. Confess, Fletch
    Though the original novels were written in the ’70s and ’80s, at times Confess, Fletch feels like a ’50s farce, with good old-fashioned misdirection and mistaken identities doing the leg work. Unlike James Bond, Fletch doesn’t need gadgets or fast cars to untangle this mystery, just a few Negronis and heaps of charisma. The formula works.
  23. 13th
    The sturdiest ingredient in 13TH is the testimony from people who clearly know what they’re talking about.
  24. El Planeta
    The appeal of El Planeta lies with a pair of women who prefer to live in the moment rather than considering its consequences.
  25. Hail, Caesar!
    The Coens get their cake and eat it, too: The lavish period details, paired with marvelous song-and-dance routines, work on their own terms while a firm self-awareness looms over every scene. It's a tricky balance indicative of directors who know exactly what they're going for: An old-fashioned homage to classic Hollywood and a send-up of the very same thing.
  26. The Trip to Spain
    Director Michael Winterbottom hasn’t just delivered the funniest movie of the year, but also a comedy that casts its characters in a harsh new light.
  27. Post Mortem
    Post Mortem portrays the specter of dictatorship through the lens of one man's private hell.
  28. Obvious Child
    The real triumph of Obvious Child involves its ability to make familiar ingredients work just fine on their own terms. In doing so, it makes up for a lot of lost time in the pantheon of female-centric comedies, and studios would be wise to take note.
  29. Little Men
    A nuanced portrait of a city in flux (or decline) that uses the impressionableness of adolescence to shake our own understanding of gentrification and its residual effects, Little Men is that rarest of beasts: a truly hopeful heartbreaker.
  30. The Spectacular Now
    Anchored by a funny and especially credible performance by newcomer Miles Teller, Ponsoldt's follow up to his alcoholism portrait "Smashed" has all the hallmarks of a bittersweet teen drama with flashes of realistic comedy on par with "Say Anything" and "The Breakfast Club."
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