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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. Along for the Ride
    Its genuine, gentle charm holds far more appeal than the icky “Kissing Booth” series.
  2. The Takedown
    In a Netflix movie that’s so breezy and enjoyable because of its complete lack of stakes, Leterrier’s approach gets the job done. In the penultimate installment of a gazillion-dollar franchise whose fans have come to expect vehicular mayhem on an interstellar scale, it probably won’t be enough to avert a slow-motion car crash.
  3. Inbetween Girl
    As Angie feels caught between many worlds, so does her story. A little bit teen sex romp, a little bit female friendship plug, a little bit Asian American immigrant story, Inbetween Girl has no shortage of things to say. It just needed to trim out the noise so we could hear them.
  4. Doctor Strange in the Multiverse of Madness
    Raimi succeeds with “Multiverse of Madness” because he fights the battles he can win, and he does so in a way that feels instructional for his characters — all of whom are struggling to make peace with what they’ve lost.
  5. Human Factors
    Trocker’s second feature (following 2016’s “The Eremites”) never quite manages to make good on its gamesmanship and only allows itself to have any fun once it’s sure that nobody else is.
  6. Crush
    Crush is, for better or worse, just like every other teen rom-com, extraordinary in its ordinariness. It succeeds at what it sets out to do: Give queer kids a totally enjoyable, and often quite funny, mainstream love story with a happy ending.
  7. Firebird
    Prior and Zagorodnii are both so watchable, and their chemistry so electric, that it’s easy to get swept away in their romance. Historical accuracy be damned.
  8. Anaïs in Love
    Anaïs isn’t so different in the wonderfully surprising last shot than she is in the first, but at last we can see that she’s having the time of her life.
  9. Hold Your Fire
    The result is a searing look into a little-known moment in history with profound repercussions for how we understand policing today.
  10. Fire in the Mountains
    Like “Pather Panchali” in the age of AirBnb and TikTok, Fire in the Mountains empathetically dramatizes the struggles that locals face in a place where tourists come to play.
  11. Memory
    Everyone in Campbell’s movie — from the director all the way down to his supporting cast — deserves better than this.
  12. 365 Days: This Day
    No, most audiences who tune into 365 Days: This Day are likely not seeking out female empowerment tales or coherent plots, but the disdain with which the film treats both its viewers and its star can’t help but grate.
  13. The Mystery of Marilyn Monroe: The Unheard Tapes
    Cooper’s film does no independent research of its own, and therefore can’t possibly offer any tidbits that weren’t first reported in the pages of “Goddess.”
  14. Downton Abbey: A New Era
    "A New Era” doesn’t feel like a cash-grab, but a true continuation. Lush settings, well-appointed sets, and an eye-popping wardrobe only add to the magic, and good luck not happily sinking into two hours of confectionary entertainment. (The endless jokes about the film industry somehow only add to the zip of it all.)
  15. Stay Awake
    It’s an earnest look at the collateral damage surrounding addiction, and the movie is at its strongest when it homes in on the experiences of Ethan and Derek. But as the main characters of the movie learn, compassion alone isn’t always enough.
  16. Pompo the Cinephile
    Ludicrous and dramatically unsatisfying as Pompo the Cinephile might be, its kid-friendly portrait of life on a movie set captures the same electric crackle that make far better films like “Day for Night” and “Irma Vep” such irresistible ads for joining the circus.
  17. Sexual Drive
    Anyone expecting a three-course meal as rich and nuanced as Ryusuke Hamaguchi’s “Wheel of Fortune and Fantasy” (or even a single dish as sumptuous as Juzo Itami’s “Tampopo”) might find themselves disappointed by a quick and dirty film that only aspires to offer the satisfaction of a light dessert, but Yoshida’s giddy fetishism makes for its own simple fun.
  18. Stanleyville
    If Stanleyville initially assumes the posture of an Off-Off-Broadway adaptation of “Dogtooth” — one happy to revel in half-baked ideas and hand-me-down humor — its commitment to entropy randomness gradually coheres into an identity of its own.
  19. Choose or Die
    Choose or Die is a perfect entry point into genre for younger viewers, one that will also satisfy old school diehards even as it takes some pointed (perhaps deserved?) jabs at them.
  20. White Hot: The Rise & Fall of Abercrombie & Fitch
    Cathartic and outrageous as it can be to hear the juicy — but wildly unsurprising — details of how Abercrombie operated behind the scenes, Klayman’s film doesn’t ground them in any greater sociopolitical context.
  21. Metal Lords
    Metal Lords may never find the rhythm a movie like this needs in order to stay in the sweet spot between goofy and charming, but there’s a stubborn kernel of truth to how casually its young characters learn to hear themselves by listening to Judas Priest.
  22. Father Stu
    As a critic who’s professionally obligated to reckon with the latest trends in Christian cinema, I have to admit that Wahlberg’s R-rated conception of godly entertainment seems almost divine when compared to the culture war militance of “God’s Not Dead” or the Sunday school hokeyness of “I Still Believe.”
  23. The Northman
    It’s not like this movie is a punishing chore; it’s not like Eggers doesn’t want multiplex audiences to like it. And they will. Because this is the kind of filmmaking that rips you out of your body so hard that you’re liable to forget what year it is.
  24. Aline
    Surprisingly funny, well-acted, and a little offbeat, Aline is as delightfully kooky as its monumental subject.
  25. Return to Space
    The film’s scattershot focus — in stark contrast to the breathless immediacy of “The Rescue” — and advertorial tone diminish the sheer thrill of watching the company land an orbital class rocket for the first time.
  26. All the Old Knives
    Come for the espionage thrills, stay for the wrenching dissection of what it means to really love someone. That’s what really cuts deep.
  27. Night's End
    With a little sleight of hand and a well-executed metaphor, horror can encompass both the fun and the artifice of filmmaking. Night’s End may not be perfect, but it’s perfectly flawed.
  28. Fantastic Beasts: The Secrets of Dumbledore
    The series’ third outing, Fantastic Beasts: The Secrets of Dumbledore, falls into precisely the same traps as its predecessor, offering up an unwieldy, mostly unsettling mash-up of adult themes and childish whimsy, made still more inscrutable by too many subplots, too many characters, and a tone that veers wildly off-course at every possible turn.
  29. Sonic the Hedgehog 2
    It’s visual soup where nothing pops or stands out. Almost nothing anyone does or says feels rooted in recognizable character traits, and despite Marsden’s most sincere efforts, he finds himself once again unable to meet Sonic’s eye-line (a production kerfuffle that would be funny, were it not also another reminder of VFX crunch).
    • 57 Metascore
    • 50 Critic Score
    Barbarians
    Nothing about this moodily lit, dinner-party-from-hell film can compete with the real-life drama that unfolded in the middle of the Academy Awards. Or with any other home invasion thriller, for that matter.
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