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For 5,164 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 4.5 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: 3,565 out of 5164
  2. Mixed: 1,333 out of 5164
  3. Negative: 266 out of 5164
5164 movie reviews
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  1. The Aftermath
    None of the pretty imagery or impassioned lovemaking can break free of a mopey old formula that sits on every scene with the same schematic quality that makes its weary setting so familiar from the start.
  2. Goldie
    The fact that Woods has already made it (and with an incarcerated mother of her own) only adds to the perfection of her casting; even without the meta elements, which underline the extent to which America’s disenfranchised look to pop culture as a pipeline to salvation, her performance is beautifully expressive and open to the world.
  3. Temblores
    There are any number of movies about gay men trying to liberate themselves from the long shadow of heteronormative oppression — a regrettably, enduringly relevant premise — but few have been told with the extraordinary nuance or compassion of Jayro Bustamante’s Tremors.
  4. Varda by Agnès
    Watching the 90-year-old filmmaker pick through the scrapheap of her own memories and fashion the bits into a fresh perspective on the relationship between reality and representation, stillness and movement, life and art, it seems that Varda has become something of a gleaner, herself.
  5. Synonyms
    Lapid’s film is too fresh and intransigent to know how well it will age over time or hold up to repeat viewings, but on first blush it feels like a powerful howl that’s hard to hear clearly, and harder still to get out of your head.
  6. Out Stealing Horses
    The madeline-like specificity of this memory-driven story is its greatest strength, even if it relies on a rusty structure of nested flashbacks in order to reach the past.
  7. Mr. Jones
    Mr. Jones is stymied by the clarity of its hero’s crusade. Exasperatingly scattershot for most of its long running time, this restless and misshapen film suggests its director’s nagging discomfort with a straightforward history lesson.
  8. Light of My Life
    Light of My Life delivers a lush variation on familiar elements, and wends its way to a tense final showdown that makes the wandering trajectory worthwhile.
  9. The Kindness of Strangers
    While the movie works to depict how kindness breeds kindness, even in the cruelest of environments, it spends much of the time watching its motley collection of lost souls chase their own tails.
  10. The Golden Glove
    For better or worse, Akin’s eye remains a remarkable thing, as he arranges even the most emptily nihilistic parts of The Golden Glove with the gravitas of arresting visual geometry, and casts every role to sick perfection. It’s just his vision that seems to be the problem.
  11. Ghost Town Anthology
    Ghost Town Anthology lacks the human touch it needs to satisfy beyond its symbolism, but if Côté’s 96-minute curio takes far too long to thaw, it’s never more spookily enthralling than in its final moments.
  12. Fourteen
    When lifetimes of latent drama come home to roost in the surprisingly eventful final scenes, Fourteen builds to an unsparingly lucid assessment of what two friends can take from — and carry for — each other.
  13. Driveways
    Without a singular galvanizing conflict to focus the plot, Driveways feels more like a collection of character studies than a cohesive whole.
  14. By the Grace of God
    A thoughtful, fast-paced, and immaculately acted procedural that unfolds with the urgency of a newspaper deadline, By the Grace of God zips through the facts of this horrid case, while also shaping them into a lens through which to examine the uneasy relationships between mercy and justice — between faith and the flawed institution that exists to preserve it.
  15. Donnybrook
    Sutton’s tricky balance of B-movie caricatures and gloomy expressionism doesn’t always match up, but that very discordance speaks to the potency of its themes.
  16. Happy Death Day 2U
    When it works, it’s never better than a loving retread of the pleasures of the first film; when it doesn’t, it’s a head-scratcher of the highest order, a film that exists to push forward a franchise that seems to have already lost its way.
  17. Isn't It Romantic
    Every trope, twist, and trick of the genre is up for skewering in the comedy, but the film keeps things light and smart, never dipping into darkness or crass jokes. It’s funny because it’s clever, but it’s also never cruel.
  18. Lords of Chaos
    Much like the music, Lords of Chaos is frequently unpleasant but oddly compelling — not least because Åkerlund ensures that the film never takes itself as seriously as its subjects did.
  19. What Men Want
    The ideas don’t cut that deep, but like its psychic protagonist, this movie knows exactly what its audience wants.
  20. The Prodigy
    The film is littered with jump scares, but most of them offer up shocking twists that land with genuine payoff: the score winds up, the framing gets tighter, the shots linger for longer, and when a different film might serve up a jump scare with a giddy “oh, it was nothing!” laugh, The Prodigy delivers something truly distressing.
  21. Share
    Share can be so traumatized and detached that it risks losing its grasp on reality, but few movies have so boldly confronted the complexities of sexual assault, and even fewer have had the courage to privilege a victim’s truth above the judgements she inspires.
  22. The Sound of Silence
    Even the best records start skipping after a while, and once The Sound of Silence gives in to the demands of conventional narrative it begins feeling less fresh and new than it did when it was simply introducing us to Peter and his work.
  23. One Child Nation
    Using a remarkable personal lens, the film examines the reverberations of propaganda on broken families across multiple generations. The cumulative effect creates the sense that its destructive effects continue to be felt well beyond China’s borders.
  24. American Factory
    The movie never lacks for insights into the nature of the disconnect.
  25. Corporate Animals
    Amusing but almost insultingly slapdash.
  26. Wounds
    The film’s threadbare story runs parallel to some compelling ideas about masculine insecurity, internalized pain, and the price of genetic privilege, but Anvari’s well-calibrated jump-scare machine is too preoccupied with gross effects, unmotivated jolts, and that strange rash that’s growing in Hammer’s left armpit to engage with any of them.
  27. The Sunlit Night
    At least there’s Slate, who gamely approaches her character with sensitivity and care (the actress also produced the project) and keeps Frances grounded even as The Sunlit Night sputters around her.
  28. The Souvenir
    It may have taken Hogg several decades to realize that her own box of darkness was actually a beautiful gift, but she unwraps it with the care and tenderness of someone who understands its true value.
  29. The Report
    The coolheaded patience of Burns’ approach is precisely what makes “The Report” so powerful in the end, not only as a lucid crystallization of our country’s recent political history, but also as an urgent reminder of how a world that prioritizes emotions over ethics will eat itself alive.
  30. Monos
    Aided by “Under the Skin” composer Micah Levi’s thunderous score, Landes delivers a suspenseful encapsulation of alienated youth enmeshed in pointless battles that can only lead to further destruction.
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