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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. Terminal
    Vaughn Stein’s Terminal takes a mess of dead tropes and Frankensteins them together into an crime saga that’s in desperate need of brains. And a soul. And a story.
  2. Revenge
    Revenge is a bit too thin to sustain its running time (despite its slickness and mesmeric rhythm), but Fargeat’s well-executed finale is worth the wait, particularly for how it cements Lutz as a final girl for the ages. A girl who’s stripped of her humanity, and then finds the strength to return the favor several times over.
  3. The Rescue List
    The patience and sensitivity with which The Rescue List renders the children themselves is remarkable.
  4. Manhunt
    It’s hard not to smile when John Woo is having this much fun, or to care about the future when the old-fashioned has this much style.
  5. Overboard
    Hammy jokes fall flat and that bloated run time sags in the middle, weighing down would-be snappy humor. It should all pop, but Overboard settles for a low crackle.
  6. Racer and the Jailbird
    Racer and the Jailbird speeds along at an engaging clip, but never overcomes the fundamental simplicity of its plot.
  7. Psychokinesis
    Psychokinesis doesn’t leave you with much more than a bittersweet feeling about it all, but it’s an appropriately different takeaway from such a refreshingly different superhero movie.
  8. Diane
    It’s a pinhole portrait of life on Earth; a non-judgmental story about trying to reconcile meaning with meaningless before the well runs dry and it rains again.
  9. Zoe
    If we ever truly sympathize with Doremus’ nebulous characters, it’s only because they help us appreciate how painful it can be to spend so much time trying to divine meaning from utter emptiness.
  10. Ava
    It’s gut-punch cinema, uneasy and unpredictable, though Foroughi keeps it clicking right along into the rare open ending that feels earned.
  11. State Like Sleep
    Meredith Danluck’s State Like Sleep doesn’t really go anywhere, but it lulls you into enough of a stupor to enjoy the time it takes to get there.
  12. The Seagull
    Theater lovers will enjoy seeing these actors take on such iconic roles, but they’ll find themselves wishing they were seeing the same great talent on the stage.
  13. The Party's Just Beginning
    Set in Gillan’s own hometown of Inverness, the film uses the tragic history of the Scottish Highlands (which has the highest suicide rate in the U.K.) to spin out an intimate coming of age tale, bolstered by Gillan’s dark sense of humor and a firm understanding of how to play with narrative conventions.
  14. Mapplethorpe
    This runaway train of a biopic renders an iconoclast in the most generic of terms, straining Mapplethorpe’s brief life into a series of bullet-points that feed into each other with all the drama of a Wikipedia page, and a fraction of the context.
  15. Love, Gilda
    Love, Gilda is the rare documentary that could stand to pile on longer clips of its subject’s early years without feeling indulgent. Once you start watching Radner, it’s hard to stop, and the sheer force of her talent and the way she reveled in sharing it remains contagious.
  16. In a Relationship
    What Sam Boyd’s tender and winning debut feature lacks in originality and ambition, it makes up for in honesty and charm.
  17. Here and Now
    For an homage boasting a far more fatal outlook than Varda’s original, it’s frustrating and kind of perverse that Blue Night should be so gentle.
  18. The Week Of
    After 85 minutes of mediocrity, The Week Of finally lands on one inspired bit, and then there’s another half hour to go.
  19. The Bleeding Edge
    Less cohesive documentary than feature-length red flag, The Bleeding Edge assembles a range of talking heads and upsetting case studies to target several key villains.
  20. Duck Butter
    The movie amounts to a tame, forgettable doodle, as if designed to imitate the scruffy Duplass movies that Naima worships; for Shawcat, however, it’s a promising step in a new direction that suggests a far more confident artist than the one she plays onscreen.
  21. The Rachel Divide
    How you view her and her lies is meant to say something about you. What it says about Dolezal is left more open to interpretation, as Brownson spends so much time close to her subject that it’s nearly impossible for the filmmaker and her work to not humanize her.
  22. Avengers: Infinity War
    As a virtuoso juggling act, Infinity War has no real parallel in popular culture; as a movie, it’s an impressive montage of greatest hits until the gut punch of a finale.
  23. Woman Walks Ahead
    The film suffers enormously from its slippery grasp of history, all of its narrative thrust slipping through the cracks between fact and fiction.
  24. Beyond the Clouds
    Ultimately, while the visuals — along with Majidi’s sincere intentions — keep the film afloat, it never quite finds its footing. Heartrending one minute and heavy-handed the next, “Beyond the Clouds” is in equal parts beautiful and frustrating.
  25. Nico, 1988
    Thanks to the fleshed out messiness of Dyrholm’s performance, and how eerily the former Eurovision contestant brings Nico back to life whenever she sings, the movie is able to support the sketchiness of its approach.
  26. Dude
    Milch and co-writer Kendall McKinnon don’t actively buck humorous situations — the film is a comedy at its heart, deep, deep down — but there’s a dark underpinning to everything that happens in “Dude,” even when it’s overlaid with bawdy jokes and filthy situations.
  27. And Then I Go
    And Then I Go isn’t elegiac or fatalistic, nor is it a dread-filled slog toward an inevitable conclusion.
  28. Kodachrome
    The conventional road trip dramedy mines that father-son dynamic for all its worth, but Sudeikis and Harris are very much up to the task, and their chemistry helps the film rise above its tropes.
  29. The Devil and Father Amorth
    The exorcism itself is the least entertaining thing about the movie, even though it eats up a sizable and unbroken chunk of the 68-minute running time.
  30. I Feel Pretty
    Not exactly the first movie that’s ever dared to suggest that it’s what’s on the inside that counts, I Feel Pretty at least has the decency to be honest about how far that wisdom can take you.
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