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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. Pop Aye
    Pop Aye never dips into cutesiness or sentimentality, even when you might find yourself wishing it would; it’s less a big-top circus and more a low-key character study.
  2. Spider-Man: Homecoming
    “Homecoming” works by allowing itself to become an actual genre film, the first of its ilk to recognize that superhero movies might be more interesting if they were also something else.
    • 52 Metascore
    • 42 Critic Score
    Jumpin' Jack Flash
    No one will say that Jumpin’ Jack Flash, a comedy thriller in which Whoopi plays a computer operator who gets accidentally tangled up in a silly plot involving spies and dead bodies, is the greatest film ever, let alone a passively good one.
  4. Despicable Me 3
    The whiz-bang joy of the first film is wholly absent, and Despicable Me 3 limps along for nearly an hour before finding its footing.
  5. Tubelight
    Where “Bajrangi” effectively harnessed the actor’s mega-star persona into a simple character that still — in true Salman tradition — had a significant moral undertone, Tubelight struggles to strike that balance, too often veering into naivety and exaggeration both in terms of performance and narrative.
  6. War for the Planet of the Apes
    With War for the Planet of the Apes, technological wizardry and first-rate storytelling combine into a bracing action-adventure that concludes the best science fiction trilogy since the original trio of “Star Wars” movies.
  7. Person to Person
    Shot in beautifully textured 16mm and told at an unhurried pace, Person to Person requires some getting used to, but once you settle into its groove the movie becomes much more than the sum of its parts.
  8. Nobody Speak: Trials of the Free Press
    A film about the vital importance of speaking truth to power needn’t be so concerned with dressing up its own frightful truths, but Nobody Speak still compels as an opening statement on journalism’s dubious future.
  9. Bill Nye: Science Guy
    While Bill Nye: Science Guy may not spend all its time on the man himself, it proves that the guy behind “Science rules!” hasn’t gone anywhere.
  10. Transformers: The Last Knight
    It’s an unabashed freewheeling mess of CGI explosions, fast-talking strategies and shiny metal monstrosities clashing in epic battles. And it’s actually kind of fun, in an infuriating sort of way, to watch the most ridiculous Hollywood movie of the year do its thing.
  11. En el Séptimo Día (On the Seventh Day)
    Once the movie arrives at its brilliant climax, the cumulative effects of passing details lead to sweeping payoff.
  12. 47 Meters Down
    47 Meters Down sinks rather than swims, even if there are a few buoyant moments along the way.
  13. All Eyez on Me
    Boom’s film (penned by Jeremy Haft, Eddie Gonzalez, and Steven Bagatourian) initially reads as a timely rallying cry around Shakur’s legacy, before devolving into a paint-by-the-numbers biopic that unspools with as much energy as a Wikipedia entry.
  14. The Book of Henry
    It’s intermittently funny, mopey, and tense, sometimes totally off-base but certainly ambitious in its approach.
  15. Once Upon a Time in Venice
    Mark Cullen’s ruthlessly boring and decidedly dismal Once Upon a Time in Venice marks a new low in Willis’ still-trucking action career, one that even Cage would likely flinch at, even if it does feature an entire sequence dedicated to naked skateboarding.
  16. Rough Night
    We’ve yet to see if Kate McKinnon can lead a movie, but she sure as hell can steal one. She did it in “Ghostbusters,” and she did it again in Rough Night, which is surprisingly funny despite a wild premise riddled with potential pitfalls.
  17. My Cousin Rachel
    The film is visually breathtaking, and anchored by two strong performances. But the loyalties in My Cousin Rachel seesaw too dramatically for tension to build satisfyingly; the film runs hot and cold when it really wants to simmer.
  18. Viceroy's House
    This material could make for a powerful work, but Viceroy’s House is certainly not it.
  19. Cars 3
    Considering that it’s a second sequel in a less-than-revered franchise, it’s a minor miracle that Cars 3 hits the finish line with a fresh sense of purpose.
  20. Dawson City: Frozen Time
    As an act of preservation, Frozen Time is a marvel, a miracle, a complete good. As an act of storytelling, it’s still a bit too cold for the nitrate to catch fire.
  21. The Mummy
    It’s not that it’s bad, it’s that it never could have been good. It’s an irredeemable disaster from start to finish, an adventure that entertains only via glimpses of the adventure it should have been.
  22. Camera Obscura
    Though born of an inventive idea, Camera Obscura comes out underdeveloped.
  23. Megan Leavey
    A true story so pure that it almost grants its teller the permission to be sloppy, Gabriela Cowperthwaite’s Megan Leavey is a bit of a mess from the moment it starts, but it’s hard to completely dismiss any movie with a soul this strong, just as it would be hard to dismiss a disobedient puppy so long as its tail keeps wagging.
  24. Sami Blood
    From a certain perspective, Sami Blood tells a very familiar story, but the hyper-specificity of its telling renders it a wholly new and quietly profound experience.
  25. Wonder Woman
    Wonder Woman is as much about a superhero rising as it is about a world deserving of her, and Diana’s hard-won insistence on battling for humanity (no matter how frequently they disappoint) adds the kind of gravitas and emotion that establishes it as the very best film the DCEU has made yet. There’s only one word for it: wonderful.
  26. The King
    A documentary as sprawling and brilliant and flawed as the country it traverses, Eugene Jarecki’s The Promised Land is a fascinatingly overstuffed portrait of America in decline.
  27. Faces Places
    While all of the people they meet are delightful characters who the film manages to milk for every ounce of their personality, Varda and JR inevitably emerge as the real stars here.
  28. A Ciambra
    Sorely lacking the energy that made “Mediterranea” such a vital shot in the arm, A Ciambra is a half-step backward for Carpignano, whose clear sense of place is too often hampered by shapeless plot.
  29. Makala
    There’s a fine line between watching someone toil and feeling as though you’re toiling yourself, of course, and “Makala” doesn’t always land on the right side of it. It can be edifying at times to watch this, as the film is clearly a labor of love — even if the actual work depicted is not.
  30. How to Talk to Girls at Parties
    Mitchell transforms Neil Gaiman’s sci-fi short story into a vibrant, edgy and at times outright goofy statement on tough antiestablishment rebels and freewheeling hippy vibes, suggesting that they’re not really all that that different.
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