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For 5,190 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: 3,584 out of 5190
  2. Mixed: 1,338 out of 5190
  3. Negative: 268 out of 5190
5190 movie reviews
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  1. Official Competition
    Seeing Cruz and Banderas show off their comedic chops is definitely a pleasure, and the farcical final scenes will leave viewers on a high. But this film won’t win many competitions, official or otherwise.
  2. Machines
    A spare and unflinching documentary about the true cost of cheap textiles, Machines doesn’t tell us anything we don’t already know about the inhumane work conditions in countries like India, but it forces us to become palpably familiar with the awful facts of the matter.
  3. Mysteries of Lisbon
    A four-and-a-half hour period piece littered with interconnected events spread across many years, it moves forward with fits of intrigue, interspersed with casual developments that deaden its momentum and call into question its monumental running time.
  4. Detropia
    The whole experience is one long rant in radiant colors.
  5. Best Summer Ever
    Best Summer Ever isn’t the best movie ever, but what it does is continue to show that disability can be fun, unique, and enticing without being dour. It’s the best at what it’s doing and you’ll want to see more.
  6. Four Daughters
    It’s a veritable snakepit of uneasy decisions that grips you with its novel approach to so-called truth-telling before lapsing into something a little more conventional.
  7. The Gambler
    For all the hundreds of thousands of dollars being thrown around, The Gambler is much closer to a friendly game of poker with some loquacious, quick-witted friends than a glimpse at the gambling world’s dark underbelly. Neither is it a preachy moral tale.
  8. Knight of Cups
    Pretty and discardable in equal measures, the movie illustrates ingredients of the filmmaker's appeal while falling short of assembling them into a coherent whole.
    • 55 Metascore
    • 75 Critic Score
    Race for Your Life, Charlie Brown
    There’s no denying that Bill Melendez and his artists were the perfect marriage with Schulz’s delicate vision. The feature also tosses out little “they-didn’t-have-to-do-it-but-they-did-it-anyway” touches throughout.
  10. Lamb
    Lamb takes a low-key minimalist approach to its premise that invites a certain shock-and-awe reaction before doubling back to give it purpose.
  11. 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.
  12. The East
    As slickly paced as a big-studio espionage movie, it nearly succeeds as a pure adrenaline-rush thriller. In the end, the problem isn't that there's too much plot, but rather a certain dramatic illogic.
  13. Professor Marston & the Wonder Women
    Evans, Hall, and Heathcote exhibit major chemistry (in every permutation) possible, but they also don’t wink at the storyline, playing a provocative story totally straight.
  14. Stefan Zweig: Farewell to Europe
    Schrader’s direction is unobtrusive but agile, as though she considers it her duty to provide a cinematic soapbox for Zweig and politely exit the spotlight.
  15. Wrecked
    Brody's engagement with the material prevents Wrecked from falling apart.
  16. Motel Destino
    It’s sexy, disturbing, yet cold despite the simmering equatorial heat and hot lava of freely flowing attractions.
  17. A Land Imagined
    A Land Imagined is a film that’s intent on losing its own sense of self, a goal that Yeo fulfills by never allowing it to have one in the first place; he digs a rabbit-hole, and then falls right into it. It’s fascinating to watch Yeo tumble down into the depths, but eventually it starts to feel as though he’ll never hit the bottom.
  18. Life in a Day
    It's a pretty experiment with no apparent results, but plenty of marketability.
  19. Trap
    Hartnett is in on the joke, going against the type he was pigeonholed into by Hollywood as a teen matinee idol who won our hearts and other body parts in “The Virgin Suicides” as too-cool boy-next-door Trip Fontaine, or as a self-induced sexual ascetic in “40 Days and 40 Nights.”
  20. Hitchcock
    Hitchcock largely succeeds at pulling back the veil on his off-camera personality. To a larger degree, it reveals the level of influence of his devoted wife and screenwriter Alma (Helen Mirren) on both his personal life and career.
  21. The Monk and the Gun
    The Monk and the Gun is a film that understands why we still need to consider tradition — the actual definition of the word, that is — when thinking about complex political issues.
  22. Welcome to New York
    No matter its silliest missteps, Welcome to New York has an impressive engine of ideas in line with the director's other New York stories. [Unrated Version]
  23. Sabbath Queen
    DuBowski’s activist portrait Sabbath Queen is overwhelmingly ambitious in its time-spanning, as searching and curious as its primary subject. We don’t leave the movie with a firm sense of who Amichai is beyond his religious backdrop, but I think that’s the point: Who he is as a person has become muddled and tangled up with the one he’s supposed to represent.
  24. Thelma the Unicorn
    If the rest of the film does err towards the slightly generic, Howard gives Thelma the Unicorn a great lead that you’ll have no trouble rooting for.
  25. American Selfie: One Nation Shoots Itself
    American Selfie is an urgent look at a fractured country and culture.
  26. The LEGO Ninjago Movie
    Every bit as irreverent, smart, and ridiculously entertaining as its predecessors, The LEGO Ninjago Movie proves that these films are now on the brink of becoming a viable brand unto themselves; it cements them as the most consistently delightful franchise in the contemporary world of corporate animation. Nothing else comes close.
  27. Keyhole
    Keyhole never comes together, but that's part of Maddin's creed. He makes movies about movies to express his love for movies, which is to say he makes movies about himself.
  28. Azrael
    Even if the execution isn’t always where it needs to be, Katz and screenwriter Simon Barrett still deserve their flowers for conceiving such a purely cinematic idea and swinging for it with so much confidence.
  29. Bang Bang
    At first glance, Bang Bang seems like a dreadfully cliche-ridden film. Nelson throws everything he has at the eponymous character, but the washed-up fighter archetype who spits poetry about the demons he now battles has been done to death. Yet it becomes clear those cliches are the point.
  30. Oklahoma City
    While Goodman’s feature doesn’t focus our recently inaugurated president, it serves as a blunt reminder of what has happened, and could happen again, when misinformation is spread to dangerous, angry, homegrown radicals.
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