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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. Unlovable
    It’s a fluffy spin on the recovery genre, but it’s a fresh one, and deGuzman’s hard-won life experience adds veracity and honesty to the snappy narrative. She’s also just plain wonderful to watch, providing a tough character in a tough situation with the maximum of grace.
  2. Thunder Road
    While it remains a fascinating character study driven by Cummings’ striking delivery, it also falls back on conventional twists. The resulting drama showcases a remarkably strong vision in the confines of more familiar story beats, but it’s a testament to Cummings’ maniacal performance that he manages to keep us engaged.
  3. Relaxer
    Potrykus’ movies are fixated on the self-destruction inherent to all capitalist systems, and there may be no better avatar for this concern than a brain-dead dude playing video games until the end of time.
  4. People's Republic of Desire
    Tragic and terrifying in equal measure, Wu’s intimate portrait of China’s live-streaming culture uses one country’s recent past as a dark portal into our collective future, sketching a world in which even the most basic pleasures of human connection can only be experienced vicariously.
  5. The New Romantic
    It’s a testament to Stone’s sensibilities — and to Barden’s performance — that you want to see these characters stretched out over the course of a 10-episode season, but it’s to the movie’s detriment that they feel so condensed here, various scenes just sloshing into each other without a clear sense of flow.
    • 49 Metascore
    • 50 Critic Score
    The Legacy of a Whitetail Deer Hunter
    There are some real missed opportunities here.
  7. Fast Color
    Despite some obvious budgetary constraints and irksome plot holes, the movie strives to provide an alternative vision of the superhero narrative tied to the genuine experiences of people learning to come out of their shells and confront a new future for blackness, motherhood, and women taking charge.
  8. Family
    Family is funny in bits and pieces, but so obvious in terms of its eventual direction that it might have been better served by less plot and more clowning around.
  9. Don't Leave Home
    The closing minutes are a completely original sort of survival drama, one that defies precise explanation even as it delivers significant payoff.
  10. Boundaries
    Boundaries breaks no fresh ground and sags into conventional story beats on autopilot, but it’s rewarding enough to hang with these characters and roll with their mudslinging.
  11. 1985
    Writer-director Yen Tan renders Adrian’s world with understated intensity; each frame feels so precise, as if the scenery is holding its breath along with Adrian. Every silence, every space left open, echoes the liminal moments between what the characters say and what they mean.
  12. Touch Me Not
    Touch Me Not points towards all manner of holistic truths, but leaves them all frustratingly out of reach.
  13. Tomb Raider
    When Tomb Raider digs into its more creative action, it’s about as entertaining as popcorn entertainment gets these days. It’s when the film falls back on the old tropes that things grind to a halt.
  14. Take Your Pills
    A reductive documentary that’s far too focused on the big picture to really unpack the human element.
  15. Ready Player One
    It runs too long and drags a bunch in its final third, but make no mistake: This is Spielberg’s biggest crowdpleaser in years, a CGI ride that wields the technology with an eye for payoff.
  16. Blockers
    There’s an innocence to this premise that lends freshness to every vulgar turn.
  17. Unfriended: Dark Web
    The script lacks bite, save some wry meta-commentary on the movie’s existence (including a passing reference to “horror transmedia”). Nevertheless, Susco follows the well-worn path of using the horror/thriller genre to explore the eerie ambiguities of modern times.
  18. A Quiet Place
    Utilizing the pure physicality of a cast you can count on one hand, the movie maintains a minimalist dread throughout, with every footstep or sudden move carrying the potential for instant death.
  19. Submergence
    Choked by overwrought trappings and suffocated by an unforgiving narrative structure, Wim Wenders’ “Submergence” is only bolstered by a pair of sterling performances from stars Alicia Vikander and James McAvoy, both of whom somehow rise above the lackluster film they’re sunk into.
  20. RBG
    Ginsburg’s life — and its many lessons, both learned and taught — come to entertaining and energetic life. It’s a fist-pumping, crowd-pleasing documentary that makes one heck of a play to remind people of Ginsburg’s vitality and importance, now more than ever.
  21. Gringo
    Aussie director Nash Edgerton loads up on some of his signatures, including lots of bad guys, tons of twists, and a dark sense of humor. Unfortunately, his sensibilities are dulled by a sprawling story that never quite snaps together.
  22. The Strangers: Prey at Night
    The only thing scarier than Prey at Night is the possibility that we might have to wait another decade for more of its very special mask-faced chills.
  23. The Outsider
    The more this film begs to be told from the inside out, the more Zandvliet shoots it from the outside in. It’s enough to make you wish he hadn’t shot it at all.
  24. A Wrinkle in Time
    It almost doesn’t matter that the movie is too emotionally prescriptive to have any real power, or too high on imagination to leave any room for wonder; DuVernay evinces such faith in who she is and what she’s doing that “A Wrinkle in Time” remains true to itself even when everything on screen reads false.
  25. Submission
    Like a time-traveler who sets into motion the same fate they’re trying to undo, Submission is so desperate not to become a cliché that it ultimately wastes a golden opportunity to become something more.
  26. Chappaquiddick
    Jason Clarke opts for a more low-key approach to Teddy Kennedy, eschewing a big accent or showy mannerisms, and fully disappears into the role. It’s his finest work yet, and proof of his ability to excel given the right material.
  27. Death Wish
    Although he races through the occasional blasts of gritty action, Roth slows things down whenever Paul corners one of the people who killed his wife, the director sinking his teeth into long torture sequences or terse dialogue scenes that are punctuated with shocking flashes of gore.
  28. Did You Wonder Who Fired the Gun?
    Did You Wonder Who Fired the Gun? is at its sharpest and most necessary when Wilkerson interrogates his personal connection to the past, extrapolating his reticence to explore his own family’s violent history into a national epidemic of people who are similarly reluctant to do the same.
  29. Mohawk
    Mohawk offers a very clear commentary on the displacement and genocide of Native Americans, which is apparent through the American militia’s ruthlessness and crude racism.
  30. 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.
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