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For 5,184 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: 3,581 out of 5184
  2. Mixed: 1,336 out of 5184
  3. Negative: 267 out of 5184
5184 movie reviews
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  1. Tigertail
    Yang infuses his earnest, semi-fictionalized story (inspired by his own father’s experiences) with the evocative narrative traditions of modern Asian cinema, from Wong Kar Wai to Edward Yang, resulting in a rich and intimate atmosphere at every turn. While the movie doesn’t achieve the narrative mastery of its influences, Yang’s first feature has a touching emotional through line grounded in authenticity.
  2. The Long Game
    The Long Game is determined to ape the tropes of a feel-good sports drama, but only as a means to an end, and its struggle to balance the demands of the genre with the deeper concerns underpinning this story ultimately stops either side of that equation from going the distance.
  3. Paddington In Peru
    On its own, Paddington in Peru is a fun if forgettable matinee for the whole family to enjoy, but — like its hero and its villain alike — the movie belongs to a tradition that it implores us to cherish like an heirloom, and it would be a direct contradiction of its story to orphan it from the greater context of its creation.
  4. Staying Vertical
    The film never quite flies off the rails so much as it careens from side to side on the same beguiling path, with the most remarkable outcome being that the enigmatic pieces fit together.
  5. Ismael's Ghosts
    At its best, the movie is a freewheeling gambit, hurtling in multiple directions at once, and it’s thrilling to watch Desplechin try juggle them all. [Cannes Version]
  6. Stars at Noon
    Denis, Andrew Litvack, and Léa Mysius’ dialogue is only strengthened by its occasional awkwardness, as it subsumes Trish and Daniel into the same disordered humidity that swamps the film around them. The frequent sex scenes become a dialogue of their own — the lovers feeling each other out in search of something they can actually trust.
  7. Ouija: Origin of Evil
    “Ouija” is genuinely frightening and smart, the rare horror prequel able to stand on its own merits and deliver a full-bodied story that succeeds without any previous knowledge or trappings. However, in outfitting this particular haunted house with monsters to spare, Flanagan loses the thread of what’s really scary: Everything we can’t see.
  8. Lee Daniels' The Butler
    The Butler carries an authenticity that sustains it through its cloying stretches.
  9. Life, Above All
    The reason to care about Life, Above All doesn't stem from its bleeding-heart plot...The reason to care is newcomer Khomotso Manyaka, who nimbly shoulders a role that places her front and center in nearly every scene.
  10. The End We Start From
    The End We Start From leaves most of its spectacle to the imagination (radio news reports handle the lion’s share of the heavy lifting), freeing Belo to train her camera on the whirlwind of emotions that storm across Comer’s face as her character gradually comes to realize that none of this is just for now.
  11. The Dirties
    The story transitions from a believable portrait of young culture junkies into a showcase of Matt's burgeoning rage so well that it practically implicates viewers in the process.
  12. Kills on Wheels
    Till spins a sloppy but uproariously clever urban fable, one that doesn’t sanctify or belittle the handicapped, but rather shines new light on that invisible population by inviting them to play the most visible of movie archetypes: assassins.
  13. Liberation Day
    Rather than spend more time with the band, Traavik tries to milk additional drama from North Korea’s diplomatic tensions.
  14. Father of the Bride
    While many of the film’s beats are familiar, director Gary Alazraki’s version of this classic family comedy often misses one essential ingredient: real humor.
  15. 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.
  16. The Bay
    The Bay manages to scare up a real fear of environmental neglect. It's quite possibly the first example of jump scares used in service of activism.
  17. Bill & Ted Face the Music
    Face the Music is a giant party of a movie, made all the more gratifying by the way it sits at odds with the divisive moment that greets its release. Things may be dire (in this movie and IRL) but Bill and Ted’s unbridled enthusiasm as their stumbles through daunting circumstances turn gleeful ignorance into a form of escapism.
  18. American Made
    The film has just about enough going on around its anti-hero to sustain the interest and land its punchline, and there are signs Liman (a Cruise veteran since “Edge of Tomorrow”) is solving the enduring problem of making a Cruise film that’s not wholly about its leading man.
  19. Fast Charlie
    Watching Brosnan shoot a henchman’s earring off from 20 feet away is fun and all, but the real pleasure of Fast Charlie has less to do with such “he’s still got it!” theatrics than it does with the slow-boiling idea that, for Charlie and Marcie, the best might still be yet to come.
  20. Not Fade Away
    It's a period piece composed of familiar pieces, none of which have much to say beyond surface elements that have been explored countless times before. Using a typical coming-of-age mold, Chase turns cultural ephemera into formula.
  21. Hearts Beat Loud
    By all rights, it should be a heartwarming comedy with a few more tender moments. Instead, Hearts Beat Loud operates like a sad drama with a few moments that might make you smile. We knew punk was dead, but the comedy doesn’t have to be.
  22. Film Stars Don't Die in Liverpool
    Eventually so generic that it might as well be about anyone, Film Stars Don’t Die in Liverpool creates a foul tension between the paint-by-numbers quality of its approach and the uniqueness of its affair.
  23. Plainclothes
    Even without the editing problems, it’s not clear that the narrative bones of Plainclothes were ever strong enough for the movie to work. The entire film often resembles a jumble of queer cinema archetypes executed better on many other occasions.
  24. Last Flag Flying
    Above all, Last Flag Flying illustrates a fascinating link between Ashby and Linklater, two filmmakers from different eras who both explore American society’s capacity to alienate the same people contributing to its identity. That gloomy proposition finds a fresh tone in Linklater’s hands, where angry, disillusioned people still manage to find room to laugh.
  25. Kill the Jockey
    Kill the Jockey is an elusive and sometimes frustrating watch. It elides interpretation in ways both intentional and undercooked, flirts with a greatness that isn’t fully earned, yet it has some glorious moments and never unseats the viewer.
  26. Crater
    It’s believably fun, but best suited for the age group the actors embody. Any older audience member will surely roll their eyes at the spoon-fed cuteness. Yet for a 12-year-old, “Crater” just might feel like shooting for the moon.
  27. The Conjuring 2
    As scary as it is when something abrupt takes place, The Conjuring 2 generates its deepest sense of dread when nothing does, and anything could.
  28. Vengeance
    Even when the jokes miss the mark or the central mystery seems too easily solved, Vengeance is sustained by the question of what its characters mean to each other; a question asked sweetly but shrouded by an ever-growing darkness that allows the film to wander into dangerous territory by the end.
  29. The Housemaid
    Alas, it’s not veracity that rules in stories like The Housemaid, but the often mealy delights of Feig’s latest film are routinely thrown into sharp relief by Seyfried’s crisp performance. Motivations, emotions, and machinations might be the building blocks of this sort of housebound thriller, but a genuinely good performance? That’s what can really wipe the floor.
  30. Swan Song
    Kier gets the role of his lifetime as a fabulously snarky, acerbic, long-retired hairdresser in Todd Stephens’ Swan Song, a dark comedy that totters to and fro the campy and the melancholic with wincing laughs and real pain.
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