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For 5,173 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 4.3 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: 3,574 out of 5173
  2. Mixed: 1,333 out of 5173
  3. Negative: 266 out of 5173
5173 movie reviews
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  1. Thirteen Lives
    Told with no frills, less personality, and just enough quiet dignity to sustain itself for 18 days (or 147 minutes), Howard’s serviceable “Thirteen Lives” is a far cry from the kind of souped-up spectacle some of his Hollywood contemporaries might create out of this material. And yet, its let the story speak for itself approach feels misjudged in the aftermath of a documentary so rich with big personalities, knotted with stomach-churning suspense, and shadowed by a lingering sense of ethical ambivalence.
  2. My Old School
    My Old School seems to believe its surprises are more revelatory than they actually are, and for the sake of avoiding spoiling the whole thing, it’s hard to sum up what the filmmakers were so fascinated by in the first place.
  3. Anything's Possible
    Unfortunately, in its valiant effort to avoid cliches, the story falls flat. By focusing on what not to do, there’s just not a lot there.
  4. My Donkey, My Lover & I
    There’s such a warm buoyancy to My Donkey, My Lover & I — such a well-earned, rejuvenating naturalness to the way that Vignol addresses the insecurities and frustrations that keep middle-aged women from loving themselves — that it eventually hits with the same oomph of a film that takes itself far more seriously.
  5. Not Okay
    Being perpetually online sucks, but movies about it don’t have to, as Not Okay shows time and again.
  6. Nope
    It doesn’t hurt that Peele’s latest boasts some of the most inspired alien design since H.R. Giger left his mark on the genre, or that Kaluuya’s eyes remain some of Hollywood’s most special effects, as “Nope” gets almost as much mileage from their weariness as “Get Out” squeezed from their clarity. It’s through them that “Nope” searches for a new way of seeing, returns the Haywoods to their rightful place in film history, and creates the rare Hollywood spectacle that doesn’t leave us looking for more.
  7. Aftershock
    Aftershock is a powerful project inspired by loss, one that aims to move us closer to a world where all women, and especially Black women, are listened to and given the birthing experiences they deserve, so that we can one day begin to see an end to the abysmal statistics on maternal mortality in the United States.
  8. Costa Brava, Lebanon
    Costa Brava, Lebanon may be a fantasy memory of Lebanon’s past, but it’s alive and well in the hearts of its people.
  9. Mrs. Harris Goes to Paris
    “Mrs. Harris” goes down like a sugary amuse-bouche of entertainment — it won’t make a lasting impression but it’s the perfect thing for the moment.
  10. Anonymous Club
    Anonymous Club is undoubtedly a film that Barnett fans will adore — but if you’re not familiar with her music, or perhaps not that into it, you may emerge a fan by the end. Or at least a fan of Cohen, who, through his sensitive lens, reminds us that the music of the best singer-songwriters is inspired by their own feelings — of joy, or sorrow, love or solitude — and can transcend the boundaries between the crowd and the person singing it.
  11. She Will
    Krige is magical enough in a complex role (and relative newcomer Eberhardt makes for a wonderful foil), but she can only pull the film along through sheer force of will for so long.
  12. The Gray Man
    The algorithmic results don’t reflect well on the Russo brothers’ directing chops — their monumental spandex operas seldom required and never displayed the kind of muscular imagination needed to stage Michael Bay-like fight sequences — but The Gray Man is even more damning for Netflix itself, particularly so far as it epitomizes the streamer’s penchant for producing mega-budget movies that feel like glorified deepfakes of classic multiplex fare.
  13. Where the Crawdads Sing
    That it’s able to split the difference between Nicholas Sparks and “Nell” with any measure of believability is a testament to Daisy Edgar-Jones’ careful performance as Kya Clark.
  14. Persuasion
    onally similar to Autumn de Wilde’s sprightly (and critically lauded) “Emma,” the first-time filmmaker’s cheeky and original debut seems to have been the victim of some messy marketing. The final product is, yes, fun and contemporary, but also suffused with the deep longing of its heroine, Anne Elliot (Dakota Johnson, game as anyone to bridge seemingly disparate tones).
  15. Dreaming Walls: Inside the Chelsea Hotel
    The film presents a contemplative elegy for a hotel whose history is (still) being eroded, but by focusing on the literal walls (and how they, of course, can’t actually talk) only further removes the voices of the very people who live (and dream) inside of them
  16. The Sea Beast
    It tells a simple but epic story against the backdrop of a well-realized fantasy world, it does so at a measured pace that provokes the imagination rather than pummeling it into submission, and it stays on course by leveraging spectacular action (highlighted by several blistering pirate fights and a PG-rated kaiju brawl) into an effective fable about the perils of inherited prejudice.
  17. Hello, Goodbye and Everything in Between
    The fast-paced dialogue and mature-but-wholesome humor creates a general aura of clever high school rapport, aided by a lively supporting performance from comedian Ayo Edebiri (“Big Mouth”). But in trying to be everything in between, the movie ends up being not much of anything.
  18. Thor: Love and Thunder
    If Love and Thunder is more of the same, it’s also never less than that. The MCU may still be looking for new purpose by the time this movie ends, but the mega-franchise can take solace in the sense that Thor has found some for himself.
  19. The Princess
    Hulu’s dull and exasperatingly basic “The Princess” wastes a slew of talent on a straight-to-streaming cheapo so undercooked that it feels like an AMC psy-op designed to make you run to the nearest multiplex and beg for a ticket to whatever’s showing next.
  20. Minions: The Rise of Gru
    It’s colorful and madcap and zany, and while that might not make it suitable for all audiences, it will delight the very one it is made for. That’s fine for now, but if this franchise wants to survive, the next entry will have to take on a much tougher mission: stay silly, but get a whole lot smarter.
  21. Clara Sola
    Clara Sola is fleshed with the feeling that love and repression are braided together. It’s bound by the sense that we smother the things most precious to us in order to keep them from getting away.
  22. Beauty
    Dosunmu’s airless directing and Waithe’s thin script only amount to loud allegory that never goes anywhere and drowns out any compelling ideas that might be worth singing.
  23. Wildhood
    Enlivened by elegant handheld cinematography and a galvanizing breakout performance from Phillip Lewitski, Wildhood is a beautiful testament to the power of authentic storytelling.
  24. The Man from Toronto
    Despite a fun premise and a well-structured first act, “The Man from Toronto” tries to do too many things at once and devolves into a strange bouillabaisse of studio comedy tropes.
  25. Beavis and Butt-Head Do the Universe
    Beavis and Butt-Head Do the Universe doesn’t fully capitalize on a wealth of possible plots, send-ups, and diversions, but it makes a case for the dynamically dumb duo to return for still more inane wackiness (hehehehe, “wack”).
  26. Loving Highsmith
    As seen through the eyes of her former lovers (merely a few of many), Highsmith’s life is brought sharply into focus, revealing as much about her humanity as her work.
  27. Mr. Malcolm's List
    Jones and Allain’s vision of how we might reinterpret this sort of story for the big screen — including assembling a cast of people who are charming to watch, full stop — is both vital and delightful, and if it has some kinks to it, perhaps that’s just the price of trying something new.
  28. Alone Together
    Alone Together has the momentum of a reclamation of sorts, but the plot tries to do too much, say too much, when it really should just be about love. Who cares if it’s formulaic or not? In the middle of this pandemic, maybe being something we can rely on is a good thing.
  29. Brian and Charles
    It’s a shame that Brian and Charles plays things safe, as Archer’s naturally irreverent debut only becomes easier to invest in during its more outlandish moments.
  30. Jerry and Marge Go Large
    The film seems destined to live on as in-flight entertainment on nursing home-sponsored trips to Vegas, but a good cast and some well-placed sentimentality elevate it into something almost watchable.
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