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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. The Last Duel
    The Last Duel reveals itself as something all too rare on the current Hollywood field of battle: an intelligent and genuinely daring big budget melee that is — above all else — the product of recognizable artistic collaboration.
  2. The Guilty
    If you’ve seen Moller’s The Guilty, well, you’ve basically seen Fuqua’s, but Gyllenhaal’s performance adds a go-for-broke turn that capitalizes on the actor’s deep emotional reserves.
  3. Malignant
    A humorless melodrama about a woman haunted by her past, Malignant sits somewhere between a slasher, a ghost story, and a possession flick, never fully embracing either. The result is a confusing melange of genre archetypes that lacks a clear point of view, even a surface-level stylistic one.
  4. Mothering Sunday
    Mothering Sunday pushes toward cut-and-dried conclusions, sewing up certain storylines with a finality that doesn’t befit the early sense that nothing is really ever over for Jane or the wounded world she inhabits.
  5. Dear Evan Hansen
    Unfortunately, Stephen Chbosky’s poor directorial choices cancel out the rousing success Dear Evan Hansen was on stage, with a cascade of glaring distractions that continuously point out the artificiality of the genre.
  6. Blood Brothers: Malcolm X & Muhammad Ali
    "Blood Brothers” is worthwhile for the introspective investigation of lives so often, in the public eye, devoid of the tangled humanity that all interpersonal relationships carry.
  7. Azor
    The film seldom wavers from its singular idea and feeling; tonally, it’s a stroll across a plateau by design, but it teeters constantly over that plateau’s edge.
  8. Halloween Kills
    If this bloody entr’acte, whose title addition works as both noun and verb, has little to offer but a jacked up body count on a bed of fan service, it serves both with panache, charging forward as an almost elemental slasher outing unclouded by conscience, remorse, or delusions of morality.
  9. Fauci
    Viewers are spared by the tender mercies of biodoc tropes, as “Fauci” puts a pin in the action to wind back the clock and walk us through how its subject came to develop such an adamantium shell.
  10. Bernstein's Wall
    This is a lovely film that will appeal to Bernstein’s most ardent fans, while warmly inviting neophytes into his world.
  11. Sundown
    Roth’s expressions range from slightly dazed to slightly drunk, and so, as the days drift by, Sundown becomes a liberating blend of mystery and existential deadpan comedy.
  12. Marcel the Shell with Shoes On
    Marcel the Shell seamlessly marries big ideas with charm and humor (and inventive stop-motion work to boot). In short, it’s the cutest film about familial grief you’ll see all year, perhaps ever.
  13. Cyrano
    Is it good? In parts! Is it intoxicated with the same demented bravado that its namesake embodies when he sneaks behind the enemy lines of the Franco-Spanish War, but tragically lacks whenever he’s alone with his true love Roxanne (a ravishing Haley Bennett, with whom Wright himself is besotted in real life)? Absolutely. And that’s plenty to sing about.
  14. Becoming Led Zeppelin
    Like all of the best rock docs, it will make you want to listen to the band’s albums. But after the second hour has come and gone, you might decide that you’ve listened enough, after all.
  15. Unclenching the Fists
    Unclenching the Fists turns out to be hardly the neorealist dip into misery that some of the film’s more disconnected camerawork from DP Pavel Fomintsev promises.
  16. Wildfire
    While occasionally veering into melodrama, Brady’s feature debut is a powerful slice of kitchen-sink gloom, and a blazing portrait of women on fire, unsure of where to go in the wake of rippling tragedy.
  17. Last Man Standing: Suge Knight and the Murders of Biggie & Tupac
    It’s a decent Cliff’s Notes version of the narrative with glimmers of something far more fascinating. It just feels like Broomfield missed the point on saying anything ground-breaking.
  18. Mogul Mowgli
    Ahmed exudes a never-before-seen vulnerability, both physically and emotionally.
  19. Anne at 13,000 ft
    Campbell’s staggering performance becomes the film’s center of gravity, her captivating sense of chaos and complexity giving the audience emotional motion sickness as her moods shift between extremes.
  20. Yakuza Princess
    As an intellectually empty piece of genre cinema, “Yakuza Princess” can’t even sit alongside movies that offer similarly obtuse ideas but that gain some favor through impressive spectacle.
  21. Last Night in Soho
    Left behind is [Wright's] trademark hyperactive editing and insistent post-modernism; in its place is flowing movement and intense emotion.
  22. The Year of the Everlasting Storm
    The seven filmmakers at the center of “The Year of the Everlasting Storm” do give a slash of cathartic release, a dash of humor and a large batch of necessary pathos to make the world feel a little less lonely, a little less small.
  23. Julia
    At just 95 minutes, Cohen and West hit the bullet points of Child’s life, much of it told through her own archival interviews and personal letters and diary entries, but bigger questions linger. It’s a delicious meal, but it often feels a touch undercooked.
  24. Spencer
    Doing away with any pretense of docu-realism, Spencer is neither a film about specifics nor any of conventional biopic; it is instead a sort of haunted house chamber piece that doesn’t try to locate the real woman behind the legend — as the title might suggest — as it does to reimagine her within a wholly different pop lexicon.
  25. Dune: Part One
    In the end, Denis Villeneuve was all too right: Your television isn’t big enough for the scope of his Dune, but that’s only because this lifeless spice opera is told on such a comically massive scale that a screen of any size would struggle to contain it.
  26. King Richard
    The film embodies its namesake’s oft-repeated — if increasingly suspect — ethos of making sure that fun comes first.
  27. C'mon C'mon
    The results are a bit more wishy-washy than usual. If Mills’ films are typically aimed at the intersection where the personal and the universal collide, this one can be unspecific in a way that drifts toward vagueness.
  28. The Card Counter
    That The Card Counter shakes your faith in the writer-director’s ability to beat the odds is part of its scabrous charm.
  29. The Hand of God
    The Hand of God doesn’t always find the clearest way of knotting these various stories together, and the film’s second half — replete with so many highs — also feels like it leaves a number of important characters dangling in the wind.
  30. The Power of the Dog
    The Power of the Dog sticks its teeth into you so fast and furtively that you may not feel the sting on your skin until after the credits roll, but the delayed bite of the film’s ending doesn’t stop it from leaving behind a well-earned scar.
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