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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. SuperFly
    It works because the characters keep things anchored to some kind of dramatic reality.
  2. Gotti
    Connolly’s biopic isn’t a hagiography. The problem is that it’s not really anything. This is a strange thing to say about a notorious mob boss who was locked up for murder, but John Gotti deserved better.
  3. Incredibles 2
    Once the menacing and mysterious Screenslaver is introduced, inciting a Spielberg-level monorail chase that reaffirms Bird’s lucid gift for kinetic and character-driven action filmmaking, the movie blasts off and never looks back.
  4. 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.
  5. Believer
    It’s damning, if not quite fatal, that Lee’s version works best when it’s riffing on the standout elements of the source material rather than trying to reinvent them.
  6. Hotel Artemis
    A handful of amusing details in desperate need of a purpose, the film spends its first half looking for a compelling reason to exist, and its second half trying to disguise the fact that it can’t find one.
  7. Ocean's 8
    Despite a cool backdrop and a daring idea, the heist itself feels like a third-tier Soderbergh joint, one that’s temporarily bolstered by the same jazzy music and quick cuts that marked the filmmaker’s trilogy, though carried out with considerably less energy.
  8. Jurassic World: Fallen Kingdom
    The Fallen Kingdom is at its worst when attempting topicality (the testosterone-fueled Wheatley refers to one of our heroes as a “nasty woman”) or when beefing up its crass plot.
  9. 211
    Unwatchable even by the subterranean standards of a direct-to-video Nicolas Cage thriller, director York Shackleton’s 211 is the kind of low-grade schlock that leaves you with a newfound respect for the basic competence that most bad movies bring to the table.
  10. Action Point
    For most of its interminable runtime, Action Point feels like a porno that deliberately ruins the sex scenes in order to stop you from fast-forwarding through the plot.
  11. 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.
  12. The Kissing Booth
    The high school-set rom-com is a sexist and regressive look at relationships that highlights the worst impulses of the genre.
  13. Adrift
    Adrift is told with an inimitable sense of place and a rare attention to detail, both of which help to ensure that we never lose sight of the terror at hand. When all else fails, which it sometimes does, Woodley is there to right the ship.
  14. Discreet
    As the tension builds to its harrowing conclusion, and Alex begins to bare his teeth, Mathews pulls enough tricks from his sleeve to make Discreet a worthy digression.
  15. Breath
    The movie is able to ride a line right through so many of its genre’s worst clichés because it never stops negotiating between fear and desire, risk and reward. It’s an assured directorial debut from “The Mentalist” actor Simon Baker.
  16. Ibiza
    It’s as wild and unhinged as the other films in its brethren (the MPAA does not typically rate original Netflix films, but “Ibiza” would absolutely be on the receiving end of an R). However, Ibiza subverts plenty of expectations in service to a story that’s both funny and sweet.
  17. Who We Are Now
    Newton’s film knows that people are always going to be letting themselves (and each other) down, no matter how hard they try, and Nicholson’s unforgettable turn makes it impossible for us to forget it.
  18. Knife + Heart
    For a giallo riff so light on gore, Knife + Heart is still a bloody mess.
  19. Sorry Angel
    Sorry Angel doesn’t strain from too much ambition; it’s a sharp snapshot of two men at pivotal moments in their lives, and ends on a note not too different from the one it starts on. But that cycle is central to its gentle intellectual flow.
  20. Shoplifters
    A master of threading the needle between conflict and contrivance, Kore-eda manages to turn this drama inside out without every betraying its most resonant truth.
  21. Rafiki
    Wanuri Kahiu’s sophomore feature is just good enough to give its modest intentions a historic purpose, bringing fresh context to an old formula while hitting the expected emotional beats.
  22. The Wild Pear Tree
    Rise to the challenge, and payoff awaits on the other side: a formulaic story transformed into something more perceptive and profound. If only more family dramas took such care to get the details right.
  23. Capernaum
    Capernaum is a movie that wants its audience to empathize with its protagonist so intensely that you agree he should never have been born. It’s a fascinating (if obviously counterintuitive) approach, but one that’s frustrated by the literalness with which Labaki unpacks it.
  24. Yomeddine
    The best thing about writer-director A.B. Shawky’s feature-length debu...is the way it burrows inside Beshay’s life without devolving into a pity party.
  25. The World Is Yours
    A hyper-stylish and unexpectedly sweet rebuke to the idea that screwing people is a good way to get ahead, Gavras’ second feature manages the almost impossible task of mining something nice from the me-first mentality that’s been sweeping across modern Europe.
  26. Bombshell: The Hedy Lamarr Story
    This film manages to celebrate the spirit that stood in opposition to limit her to what she looked like on a poster. It’s a reminder that, even for world-famous icons, it’s pointless to reduce people to a single piece of notoriety.
  27. That Summer
    If the deliciously grainy archival footage were the only thing That Summer had to offer, it would be enough. But by including Beard and Radziwill’s introspective voiceovers, Swedish director Göran Hugo Olsson (“The Black Power Mixtape”) creates a nostalgic meditation that touches on both cultural and historical memory.
  28. Long Day's Journey Into Night
    The unexpected love child of Wong Kar-wai and Andrei Tarkovsky, “Long Day’s Journey Into Night” transforms from a lush, slow-burn pastiche to an audacious filmmaking gamble while maintaining the pictorial sophistication of its earlier section. It’s both languorous and eye-popping at once.
  29. Leto
    It’s a shambling, transportive, and semi-tragic story about a fleeting past where anything seemed possible.
  30. The Man Who Killed Don Quixote
    The Man Who Killed Don Quixote sits alongside much of Gilliam’s late period work as a messy but singular achievement that strains to make its disparate parts fit together, but there’s a noble spirit of invention to its wackiness anyway.
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