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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. The Bikeriders
    The singular vibration that Nichols brings to the golden age of motorcycles gives way to the all-too-familiar entropy that ended it, as a movie that busts out of the gate as some kind of new American classic ultimately runs out of gas on the side of the highway.
  2. Young Woman and the Sea
    It’s good enough, rousing enough, compelling enough.
  3. Celeste and Jesse Forever
    The whole thing is a step above studio romantic comedies, but that's not saying much.
  4. Nine Days
    There’s certainly enough here to provoke meaningful questions that transcend the boundaries of the frame, and Nine Days hits a commendable note about the value of embracing life’s unpredictable turns. But no matter its celestial implications, the movie can’t shake the impression of a brilliant concept that never takes flight.
  5. Wilson
    Even as the screenplay (which Clowes adapted) contains much of the source material’s pitch-black humor, it also falls short of realizing its subtle vision of an angry recluse learning to make peace with his surroundings.
  6. A Kid Like Jake
    Silas Howard’s new film is nothing if not well-attuned to the difference between the purity of sharing the right values and the messiness of actually living with them.
  7. The Rental
    Even in spite of its obvious nowness, this thing is such a lean, mean, and utterly merciless old school programmer that it might seem anachronistic if not for the fact that it’s being released onto many of the same drive-in screens that would have shown it 35 years ago.
  8. Sweetheart
    What this potent micro-dose of a movie lacks in showmanship, it makes up for in purity and resourcefulness and a rugged performance from Kiersey Clemons that might feel revelatory if the “Hearts Beat Loud” actress weren’t always this commanding.
  9. Conclave
    Conclave is far too entertaining to dismiss in a puff of white smoke, even if the film might be a bit too convinced of its own dramatic import.
  10. The Rip
    But the most important reason why The Rip is a slight cut above the average streaming fare is the lived-in history that Affleck and Damon bring to their characters’ dynamic.
  11. Don't Move
    Netto and Schindler are less interested in pulpy sadism than they are in pure suspense.
  12. Dead Man's Wire
    One does not hire Bill Skarsgård unless one is looking for a lanky, off-putting weirdo. But Skarsgård does a good job of making his character’s frustration and rising panic grounded and relatable. This helps immensely when we get to the finale, which complicates the us-vs-them narrative.
  13. Hamlet
    The director does an excellent job of nailing the small details required to translate Shakespeare’s verse into the realism of film.
  14. In the Shadow of Women
    With its luscious 35mm photography and playful depiction of passionate lovers reaching a breaking point, the swift 72-minute drama delivers a satisfying riff on moody, intimate material Garrel has mined to richer effect many times before.
  15. I Carry You with Me
    I Carry You With Me succeeds in distilling a very engrossing and moving narrative from this real life drama. Ewing’s visual choices are at once sweeping and precise.
  16. Taurus
    The warts-and-all honesty that Baker brings to the table doesn’t prevent Sutton from repackaging his story as a simple cautionary tale about an industry — and a society — that will fatten people up just to eat them alive. At least it’s a tale that Baker lived to tell, and refused to let anyone else tell for him.
  17. Claire in Motion
    Too heavy-handed and clumsy to land with a real knockout punch, Annie J. Howell and Lisa Robinson’s second feature benefits immensely from the quietly moving work of its lead, Besty Brandt.
  18. They Remain
    They Remain, the new thriller from director Philip Gelatt (“The Bleeding House”) hews closely to some predictable beats, but it’s an engrossing exercise in boiling familiar ingredients down to pure, unbridled creepiness.
  19. Miller's Girl
    There is no hero or villain, only a murky undercurrent questioning whether having a muse is inherently predatory or not. And that story is worth writing.
  20. Post Tenebras Lux
    The issue with Post Tenebras Lux is that the narrative, not the filmmaker, feels dispiritedly half-baked.
  21. Hostiles
    This is a proudly traditional oater that travels down old trails with new sadism, as though the Western genre only died off because the movies weren’t cruel enough.
  22. Marry Me
    But while that stew sounds familiar, Marry Me takes almost too long to get really cracking, with both romance and laughs in short supply, until a mercifully charming final act.
  23. The Woman
    There are plenty of guts, but The Woman doesn't have enough to make its feminist rhetoric stick.
  24. Ballerina
    A bigger, more confident sequel might be just what this franchise needs to enjoy a peaceful transition of power — and to make good on the full potential of a Hollywood action movie that meaningfully tries to iterate on John Wick instead of just copying his moves.
  25. Aladdin
    Smith puts on such an outsized performance that it’s easy for him to overshadow its smaller joys — and when Genie is suddenly silenced in a limp third act, the entire film suffers.
    • tbd Metascore
    • 67 Critic Score
    Cookie Queens
    It’s an engaging if well-trodden setup, enhanced by the director’s slick but artful aesthetics.
  27. Bunnylovr
    While the understated approach Zhu brings to her debut feature is authentic, it also underplays even big, dramatic developments in Rebecca’s life. The result is a tiny thing you can hold in the palm of your hand, soft and delicate and mild.
  28. 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.
  29. A Family Affair
    With A Family Affair, Efron picks up where “17 Again” left off, and it’s a delight to see this former teen heartthrob back in a similar mode.
  30. Crshd
    At just 81 minutes, the film’s sagging middle soon gives way to a zippy and very funny final act, which ties up big plot points while still hinting at more adventures to come for its charming trio.
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