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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. Early Man
    As ever with Aardman, the cleverest moments are also the most fleeting.
  2. Proud Mary
    It’s almost a blessing in disguise that Proud Mary is so light on action, as Henson and Winston generate some real chemistry during the low-key moments they share together, both of them doing a fine job of negotiating between violence and vulnerability.
  3. The Vanishing Of Sidney Hall
    Initially it seems as if Sidney Hall will just be another film about lone geniuses trapped in worlds where they’re misunderstood or undervalued, but the film then unspools into nearly two hours of baffling narrative choices, weak character development, and so many offensive cliches that it would be funny if it wasn’t so, well, offensive.
  4. Paddington 2
    Paddington’s ability to positively impact people is so profound that it can’t help but stretch out towards the audience, too. We may know that being kind and polite doesn’t always set the world right, but damn if that little bear doesn’t make you want to try.
  5. Blame
    The witch-hunt metaphor that emerges from Abigail’s bullying is more overt than it needs to be, but Shephard clearly didn’t rely on SparkNotes in crafting her film.
  6. Insidious: The Last Key
    With Shaye’s performance as its anchor, the movie is often a perceptive character study, at least until it’s hijacked by the same bland trickery that so often fogs up horror movies with more to offer.
  7. The Commuter
    This may be a forgettable movie about the forgotten man — a blue-collar morality play disguised as a very contrived hostage crisis — but at least it’s shlock with something on its mind.
  8. Bright
    From the director of “Suicide Squad” and the writer of “Victor Frankenstein” comes a fresh slice of hell that somehow represents new lows for them both — a dull and painfully derivative ordeal that that often feels like it was made just to put those earlier misfires into perspective.
  9. The Greatest Showman
    Shamelessly familiar and profoundly alien in equal measure, The Greatest Showman takes a billion of the world’s oldest story beats and refashions their prefab emotions into something that feels like it’s being projected from another planet.
  10. All the Money in the World
    As an experiment in filmmaking trickery, All the Money in the World is an extraordinary viewing experience; without that, it’s a compulsively watchable rumination on the worst of the one percent.
  11. Pitch Perfect 3
    Some of the goofier bits from Pitch Perfect 2 has been excised, and this latest entry focuses more firmly on the bonds between the ladies after its somewhat mean-tipped predecessor, though it never hits the girl-powered highs of the original. But mostly, it’s yet another unholy mashup of disparate tones that’s never as fun or frisky as the original material.
  12. Birdboy: The Forgotten Children
    This is a beautiful film, and an ugly one, and the tension between those two sides doesn’t abate until the very last scene.
  13. Star Wars: Episode VIII - The Last Jedi
    Under the fastidious guidance of writer-director Johnson, The Last Jedi turns the commercial restrictions of this behemoth into a Trojan horse for rapid-fire filmmaking trickery and narrative finesse. The result is the most satisfying entry in this bumpy franchise since “The Empire Strikes Back” in 1980.
  14. Jumanji: Welcome to the Jungle
    The mildly amusing Jumanji: Welcome to the Jungle is further proof that even the stalest whiff of brand recognition has become preferable to originality. Only part of the blame for that belongs to the studios, but after cannibalizing themselves for much of the last 20 years, Hollywood has clearly eaten their way down to the crumbs.
  15. Quest
    Even as Quest toys with expectations, (there are no chart toppers to be found here), the triumphs in Quest are much harder to spot, though they are mighty; love, family, and hope in the face of adversity. Nothing could be more harmonious.
  16. Phantom Thread
    The director’s most outwardly accessible movie in ages, Phantom Thread is at once an evocative period drama and a magical fable about lonely, solipsistic people finding solace in their mutual sense of alienation.
  17. The Post
    A master chef preparing an entire feast inside a pressure cooker, Spielberg shoots The Post like every shot was delivered to the studio on a deadline, and the result is a film that combines the spartan clarity of hard journalism with the raw suspense of an Indiana Jones adventure.
  18. Voyeur
    Voyeur is framed as the story of one observer trying to clarify another, but Kane and Koury lose sight of their own film, which is really a story about two men so desperate to hear the sound of their own voices that they deluded themselves into thinking they had something to say. Voyeur falls right into their trap.
  19. Cuba and the Cameraman
    Cuba and the Cameraman, while essentially a greatest hits collection for Alpert’s career, never feels recycled. It also never feels Frankensteined together.
  20. The Breadwinner
    So urgent and far-reaching that it never settles into the comforts of a coming-of-age story, The Breadwinner is a small film about the biggest things. It’s engaging from start to finish, but Twomey — to her great credit — prioritizes stoicism over sentimentality.
  21. Brimstone & Glory
    Structured like a fireworks display, with only a handful of small reprieves throughout, Brimstone & Glory naturally builds to a marvelous grand finale.
  22. Song of Granite
    For an artist whose work in a proud and robust tradition carried a recognizable grace, Song of Granite is a stirring, solemn tribute.
  23. Justice League
    The resulting 119-minute pileup of showdowns and one-liners is an undeniably tighter, more engaging experience. It’s also a tired, conventional attempt to play by the rules, with “hold for laughs” moments shoehorned between rapid-fire action — a begrudging concession that the Marvel formula works, and a shameless attempt to replicate it.
  24. Mr. Roosevelt
    Mr. Roosevelt is a sweet and shaggy comedy about someone who needs to renovate their idea of home. It’s a reminder that the 21st century is going to be full of coming-of-age films about 30-year-olds, and it’s compelling evidence that that might be alright.
  25. Wonder
    Wonder is as manipulative as movies get, but that isn’t necessarily a bad thing. Sometimes a story needs to steer you; sometimes a story tells you what to feel, but redeems itself by virtue of the sincerity with which it shows why you should feel that way.
  26. Daddy's Home 2
    Holiday movies don’t have to be good, they just have to be comfortable, and by that regrettable standard “Daddy’s Home 2” mostly gets the job done.
  27. Pottersville
    Bad movies happen to good actors all the time, but Pottersville is something worse — not malevolent so much as utterly mystifying. It’s a movie that’s mere existence is infinitely more amusing than any of its jokes.
  28. Bitch
    Even as the high-concept premise wears thin, Palka manages to generate an unexpected degree of sympathy for the floundering couple, and the wordless finale allows for a complete transformation that extends beyond Jill’s bizarre condition.
  29. Coco
    Fresh and stale in equal measure, Coco represents the best of what Pixar can be, and the worst of what they’ve become.
  30. Murder on the Orient Express
    A handsomely furnished holiday movie that should have devoted more attention to its many ornaments and less to the tinsel at the top, this Murder on the Orient Express loses steam as soon as it leaves the station.
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