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For 5,181 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: 3,579 out of 5181
  2. Mixed: 1,335 out of 5181
  3. Negative: 267 out of 5181
5181 movie reviews
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  1. Arco
    Bienvenu comes up with a stirring ending, one so emotional it almost paves over the bumps in the narrative road that got us there.
  2. LifeHack
    The internet is the closest thing these teenage cyberthieves have to a real life, and Corrigan’s dopamine onslaught of a film is an authentic portrait of the most alive they’ve ever been.
  3. Slow West
    Slow West certainly makes a valiant effort to reach beyond expectations of its genre, even leaving room for some welcome tongue-in-cheek humor when it's least expected. But at the end, all its waffling between various stylistic touchstones fails to hold much interest.
  4. Barry
    Barry loses its way when it reduces itself to a tacky diorama of its protagonist’s inner turmoil, and it does so frequently enough to dismantle any sense of narrative momentum.
  5. A Compassionate Spy
    If A Compassionate Spy is oddly dispassionate for a documentary so attuned to the humanistic inner-workings of history in progress, the film can’t help but find a measure of beauty in the unspoken trust that Ted and Joan placed in one another.
  6. Post Mortem
    Post Mortem portrays the specter of dictatorship through the lens of one man's private hell.
  7. Your Sister's Sister
    Duplass' feisty energy is matched by DeWitt's constant smarminess, while Blunt's shy, fragile behavior balances off the forceful personalities surrounding her.
  8. Midsommar
    This is the kind of mad science filmmaking worth rooting for: Aster refashions “The Wicker Man” as a perverse breakup movie, douses Swedish mythology in Bergmanesque despair, and sets the epic collage ablaze. He may not land every big swing, but the underlying vision is hard to shake even when it falters.
  9. It's All So Quiet
    Stillness dominates, from the first shots of cornfields at sunrise to the final one that finds Helmer lying among them. When "It's All So Quiet" comes full circle, the title is virtually an understatement.
  10. The Dark and the Wicked
    Despite a strong start, Bertino’s grim and gruesome The Dark and the Wicked never coalesces into anything more than a collection of chilling images and a paper-thin logic.
  11. Society of the Snow
    This muscular and often brutal depiction is chiseled with authenticity, but it’s too psychologically schematic to make much in the way of an emotional impact.
  12. Summertime
    Summertime owes less to its plot development than the credibility of its performances among this trio of women as they present a fascinating set of conflicting perspectives.
  13. Die My Love
    What Lawrence achieves here is extremely impressive, a marquee movie star throwing herself with abandon into a filmmaker’s warped and demandingly miserable vision.
  14. Is This Thing On?
    Though often lethargic and listless, Is This Thing On? does stir up a vivid portrait of the New York City underground comedy milieu, even when New York City as a character feels more like the afterthought it isn’t supposed to be.
  15. Doctor Strange
    As with all of the best installments of the MCU, the film’s unique strengths have a perverse way of highlighting the franchise’s shared weaknesses. But Doctor Strange deserves credit for treating several of the ailments that have been infecting the series, and for diagnosing several more.
  16. Watcher
    Instead of leaning into the ambiguous tensions and uncanny experiences, Watcher fails to live up to its inspirations, ending up a heavy-handed, predictable trip through genre tropes with a rather lifeless cast at its core. Watcher spells out every plot point to a tee, when we wish it would slowly, playfully tug at the threads of our anxieties.
  17. The Suicide Squad
    The most fun and least depressing superhero movie in a very long time, Gunn’s deliriously ultra-violent “The Suicide Squad” wears the yoke of its genre with a lightness that allows it to slip loose of the usual restraints, if not quite shake them off altogether.
    • 72 Metascore
    • 75 Critic Score
    The Heart Machine
    While Wigon's film lacks emotional weight, that deficiency is not a matter of style over substance, but an effective comment on the peculiarly isolating nature of modern communication technology.
  19. The Day After
    The film is carried along on a powerful undercurrent of regret, and it comes to feel as though Bong-wan is a prisoner in the book-lined office where he ostensibly holds all the power.
  20. Escapes
    Escapes prefers to approach its star in a roundabout fashion, immediately launching into one of Fancher’s slippery and rambling monologues about his wandering days as a charmed lothario.
  21. I Love Boosters
    Boots Riley deserves applause for his brazen vision. . . He loses grip on the material overall, but as far as genre movies that actually turn out to be political missives go, there are worse entertainments. And with Keke Palmer at the front, you’re always in sure hands.
  22. Terri
    Jacobs, working from a script by Patrick de Witt, takes a conventional coming-of-age story and does it proud, enlivening the plot with an almost experimental portrait of alienation and despair.
  23. Daylight
    Barker's screenplay demonstrates a conviction that its genre can command great importance, allowing it to transcend the easy shocks associated with the exploitation movie experience and create an entirely fresh rhythm.
  24. Nas: Time Is Illmatic
    Like a gesture from the rapper acknowledging his crowd, "Time Is Illmatic" is competent bait for Nas fans that leaves the door open just wide enough for newcomers to appreciate the fuss from afar.
  25. Late Night with the Devil
    Late Night with the Devil fails to deliver an ending as fresh as the rest of the movie. The fact that you’ll see it coming makes it less fun but sure as hell doesn’t make it less honest.
  26. 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.
  27. Dear Santa
    It’s hard to imagine a subject better-suited to some gooey schmaltz that might wet a few cheeks and inspire people to do something positive for a change. And yet, Dana Nachman’s “Dear Santa” does everything in its power to complicate what should’ve been the easiest slam dunk in documentary history.
  28. My Entire High School Sinking Into the Sea
    Not every moment stimulates a belly laugh, but that’s part of the point. My Entire High School Sinking Into the Sea is more thoughtful than meets the eye, a cockeyed ode to what it feels like when nobody takes you seriously.
  29. Donald Cried
    While hardly reinventing the wheel, Donald Cried spins it faster than usual, taking cues from its memorably irritating protagonist. Beneath its entertainment value, the movie also hints at the tragedy of aimless adulthood.
  30. David Attenborough: A Life on Our Planet
    Our planet is a finite place, and our lives on it are finite, too. The twilight of Attenborough’s time here speaks to that truth so beautifully that you wish this documentary had more to say about it.
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