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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. A Gray State
    Clear enough about what happened to be ambiguous about what it means, the film makes only one clean argument: Truth isn’t always stranger than fiction, but it’s often a hell of a lot sadder.
  2. Princess Cyd
    Princess Cyd is a triumphant little film — little in the detailed moments it creates, not the content of its character. Anchored by complicated, smart, funny women, Princess Cyd is a rare delight of a film and a model for others to follow.
  3. A Bad Moms Christmas
    The cheerless, choppy nature of A Bad Moms Christmas keeps each storyline feeling oddly singular, and it’s worse for it.
  4. The New Radical
    The New Radical magnifies an emerging desire for major changes to the global marketplace and makes a compelling argument for how those sentiments have gained traction.
  5. The Light of the Moon
    The Light of the Moon is a lucid, clinical, and wholly necessary drama about life after rape, and the while the film is far more watchable than it might sound (thanks in large part to Stephanie Beatriz’s rich and involving lead performance), viewers should know what’s in store for them.
  6. The Price
    The story ultimately frays apart by tugging at its flimsiest threads, but Onah hits on too many things with too much force for his debut to be dismissed as a result.
  7. The Man Who Invented Christmas
    A well-intentioned but wearisome jolt of prefab holiday cheer.
  8. Jigsaw
    The question with a movie like Jigsaw, which was preceded by seven “Saw” movies and did not screen for press, isn’t “Is it good?” but rather “How bad is it?” The answer, dear reader, is “quite.” Jigsaw is quite bad.
  9. Maya Dardel
    Olin, at turns daringly open and frustratingly restrained, makes Maya entirely her own, the focal point and reason for the film itself.
  10. All I See Is You
    All I See Is You continues to be fun and involving even when things get truly ridiculous in the third act and Forster starts relying on the sheer momentum the plot in order to speed over its potholes.
  11. Creep 2
    Whereas “Creep” suggested that the annoying man-child is scarier than you think, Creep 2 shows just how much scarier he gets with age.
  12. One of Us
    One of Us offers a rare window into a highly insular community that is often misunderstood, or tacitly sanctioned for fear of stoking anti-semitism.
  13. The Divine Order
    The Divine Order is as milquetoast as these things get, but Volpe’s film finds real value by emphasizing process over politics, by glossing over the eventual vote in favor of knuckling down on how one act of courage can spark a blaze that’s big enough to burn the whole system to the ground.
  14. Thank You for Your Service
    There’s a raw honesty here that could have benefited from a surer hand, and yet it almost doesn’t matter that Hall lacks the tools to mend the rotted bridges that isolate veterans from their home country, because at least he understands the sheer depth of those gaps, and how desperately our soldiers need us to meet them half way.
  15. Tyler Perry's Boo 2! A Madea Halloween
    Tyler Perry’s Boo 2! A Madea Halloween would be tone deaf, lacking in plot, and almost entirely humorless in any year. That is happens to arrive in theaters amid a cascade of sexual assault survivors sharing their stories about sexual assault doesn’t help its case.
  16. Dealt
    Watching Turner learn to accept his weakness is ultimately satisfying, even if this gentle documentary loses a lot of texture with every shuffle.
  17. Geostorm
    Geostorm is terrible entertainment, but it’s a remarkably effective window into Donald Trump’s soul.
  18. The Strange Ones
    Its atmospheric sophistication holds strong throughout, channeling a wonder for the natural world reminiscent of Terrence Malick with an air of existential dread straight out of Andrei Tarkovsky.
  19. Jungle
    Madness is difficult to convey on screen, and less is often more. McLean opts for most, sacrificing Radcliffe performance — so alert and responsive that you can feel the life draining out of his body once the Amazon takes hold — at the altar of some empty affectations.
  20. Thor: Ragnarok
    Thor: Ragnarok doesn’t break fresh ground by Marvel standards, but it livens up the proceedings just enough to grease up the wheels of this franchise behemoth as it careens along.
  21. Liberation Day
    Rather than spend more time with the band, Traavik tries to milk additional drama from North Korea’s diplomatic tensions.
  22. Assholes
    Unfolding like a microbudget cross between “Salò, or the 120 Days of Sodom” and “The Squid and the Whale,” Peter Vack’s impressively disgusting Assholes is the kind of movie that you wish you could unsee, one you have to watch in your peripheral vision because straight-on viewing would be way too nauseating.
  23. Monogamish
    Ruspoli’s presence in the film elevates Monogamish beyond the predictable talking heads documentary.
  24. Wonder Wheel
    Winslet delivers her most powerful, emotionally resonant performance in more than a decade.
  25. Sylvio
    The plight of the alienated monkey is at turns absurd and genuinely bittersweet, not to mention a whole lot better than its premise might suggest.
  26. Marshall
    The problem with this hokey courtroom drama isn’t that it says the right thing in the wrong way, the problem is that it ultimately doesn’t say anything at all.
  27. The Departure
    A rich, rewarding documentary that digs deep into major questions without being afraid of the answers.
  28. The Foreigner
    The two plot strands are ostensibly linked by an act of indiscriminate violence, but they’re so clumsily threaded together that it just calls attention to the stitch-work.
  29. The Snowman
    Alfredson’s direction proves yawnsomely methodical, ticking off surviving plot points as though filling in some I-Spy Book of Scandinavian Crime Cliches.
  30. Only the Brave
    The movie is so cautious about avoiding disaster movie tropes that you can practically sense the resistance to arriving at the tragic finale. The result is a tasteful, well-acted bore, but so out of sync with traditional studio filmmaking it deserves some kudos anyway.
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