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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. Annabelle: Creation
    Annabelle: Creation does offer several shocking moments, and manages to deliver some truly eerie imagery. Even when you can spot the gimmicks from a mile away, Annabelle: Creation hits the horror notes it’s aiming for.
  2. In This Corner of the World
    Sunao Katabuchi’s In this Corner of the World is scattered and emotionally disjointed from start to finish, but few films have done so much to convey the everyday heroism of getting out of bed in the morning — not just surviving in the shadow of death, but living in it as well.
  3. What Happened to Monday
    Wirkola, who’s best known for his two “Dead Snow” zombie movies, struggles to tackle a more serious-minded tone this time around.
  4. After Love
    Even when accounting for its forced and uncertain finale, this is the most poignant and perceptive thing that LaFosse has ever made, and therefore also the most painful.
  5. The Glass Castle
    Even when the the music swells and people talk through their problems to reach unremarkable conclusions, there’s an undercurrent of emotional authenticity.
  6. The Only Living Boy in New York
    Song reference or not, the title alone should be a major red flag, but there’s no way to fully prepare yourself for the navel-gazing narcissism to come during the film itself.
  7. Step
    While Amanda Lipitz’s film doesn’t quite reinvent the narrative, Step tells a story that highlights the intertwining values of hope and education, and never loses sight of the idea that much more lies ahead.
  8. Columbus
    Columbus is a feast for the eyes, but its more lasting impression is on the heart.
  9. Creepy
    Creepy is both a return home and a return to form.
  10. Kidnap
    The Emoji Movie might have been a boring and brazenly cynical piece of corporate propaganda, but at least it had the courtesy to be offensive. Kidnap, on the other hand, doesn’t have the the courtesy to be much of anything.
  11. The Dark Tower
    King’s Dark Tower universe is rich with cultural reference points and is always totally unpredictable, but in cutting it down to consolidate its highlights, The Dark Tower can’t even shoot the most necessary bullets straight.
  12. It's Not Yet Dark
    It’s the questions that Fenton can’t answer — maybe even the questions he doesn’t mean to ask — that make It’s Not Yet Dark such an illuminating experience.
  13. Women Who Kill
    Offers a wry snapshot of self-involved New York lesbians that’s both enjoyably smarmy and unsettling in equal doses.
  14. The Emoji Movie
    The most distressing aspect about The Emoji Movie is that a spectacle this self-evidently soulless no longer feels like a new low. It doesn’t even leave a dent.
  15. Escapes
    Escapes prefers to approach its star in a roundabout fashion, immediately launching into one of Fancher’s slippery and rambling monologues about his wandering days as a charmed lothario.
  16. Strange Weather
    The film is at its best when Dieckmann slows down the action and revelations for its real charm: two ladies, on the road, talking.
  17. Mister Universo
    A docudrama that in its early scenes feels like a documentary — the co-directors have a nonfiction background, and the actors are actual carnival performers — the film plays out like a small-scale fairy tale.
  18. Logan Lucky
    If Logan Lucky begs you not to take it seriously, that doesn’t mean it lacks real soul.
  19. Detroit
    Detroit is extremely powerful when its wandering eye is trained on the moment at hand, when it’s performing a bracingly direct meditation on white violence and black fear. The film only runs into trouble when it clumsily attempts to contextualize the events of its horrific second act.
  20. The Untamed
    This is the kind of experience that might tell you more about yourself as both a viewer and a person than you’re comfortable knowing; it’s also the most alluringly strange movie of the year so far.
  21. Dunkirk
    Few movies have so palpably conveyed the sheer isolation of fear, and the extent to which history is often made by people who are just trying to survive it — few movies have so vividly illustrated that one man can only do as much for his country as a country can do for one of its men.
  22. Lemon
    Enhanced by a number of notable comedic actors entering uncharted terrain, it’s the kind of movie that makes you laugh and flinch in equal measures, and despite some messier twists, never ceases to move in surprising directions.
  23. To the Bone
    Throughout the film, Noxon refuses to offer up easy answers and feel-good conclusions to Ellen’s journey, even when it ratchets up into a literally overheated final discovery.
  24. Wish Upon
    Fortunately, you don’t need to wish for better versions of the movie experience Wish Upon calls to mind; they exist, and deserve repeat viewings far more than Wish Upon deserves one.
  25. Blind
    Blind is bad for many reasons, chief among them how it contributes to the belittling notion that representation doesn’t matter for a demographic that will never be able to see themselves on screen.
  26. Girls Trip
    Girls Trip nails laugh after laugh even amidst — and oftentimes because of — dramatic issues that wouldn’t be out of place in a Lifetime movie.
  27. Valerian and the City of a Thousand Planets
    The first 25 minutes of this movie should be mounted as an installation at the Louvre and played on an infinite loop. Only then can our planet know peace.
  28. City of Ghosts
    It often feels like Heineman is (understandably) too overwhelmed by the stories he’s capturing to help shape them into something greater than the sum of their parts. But no other film has so convincingly, or so urgently, illustrated the role that media will play in our fight for the future.
  29. The Rehearsal
    Set at a prestigious drama school and frequently engrossing, the film unfolds like an experimental acting workshop that occasionally falters when the plot intrudes on the performances.
  30. The House
    It would almost be impressive how many funny people it took to make something so unfunny — the full ensemble includes Nick Kroll, Allison Tolman, Michaela Watkins and Rob Huebel — only it’s difficult to be impressed when you’re focused on how little you’re laughing.
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