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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. Paris Can Wait
    Like a fine conversation, which her solid script mostly delivers, Coppola keeps the tension in the air like a lightly bouncing ball.
  2. Meri Pyaari Bindu
    While Meri Pyaari Bindu isn’t entirely clichéd, it also never quite finds its footing in terms of tone, narrative, or chemistry between the lead characters, coming off instead as both confused and confusing about where it’s going or what it’s trying to say.
  3. Stefan Zweig: Farewell to Europe
    Schrader’s direction is unobtrusive but agile, as though she considers it her duty to provide a cinematic soapbox for Zweig and politely exit the spotlight.
  4. Hounds of Love
    These aesthetic flourishes are as necessary as they are nice to look at, and go a long way toward making the darker shades of Hounds of Love less of an endurance test.
  5. The Midwife
    Offering plum roles to Catherines Frot and Catherine Deneuve, The Midwife is a minor-key crowd pleaser about friendship, forgiveness and rolling with the punches.
  6. Snatched
    Pairing up talented comedians like Hawn and Schumer with a wacky plotline to match should spell comedy gold, but Snatched is about as cheap and disposable as a tourist trap tchotchke.
  7. King Arthur: Legend of the Sword
    Part “Game of Thrones,” part “Snatch,” and almost all bad, Guy Ritchie’s King Arthur: Legend of the Sword is one of those generic blockbusters that has nothing to say and no idea how to say it.
  8. Folk Hero & Funny Guy
    Russell and Karpovsky are a winning pair, and if they ever want to hit the road for more big jokes and even bigger revelations, any director would do well to let them take the wheel.
  9. A Woman's Life
    A Woman’s Life is a very particular experience, told with consistency and without a whit of compromise. It’s not always exciting, but there’s something tremendously rewarding (and very sad) about the matter-of-factness of it all, the ceaseless indifference of time’s steady forward march.
  10. Alien: Covenant
    Just as this series focuses on survival instincts, it seems that Scott has found a way to exercise his own, keeping the “Alien” series relevant by resurrecting the same old scares.
  11. Below Her Mouth
    It’s a fittingly ambiguous title for a directionless film, late night fare that will be enjoyed by just as many horny men as horny teenage lesbians.
  12. Last Men in Aleppo
    Last Men in Aleppo is less about finding meaning amidst a massacre than it is about people who are trying to survive without it.
  13. Get Me Roger Stone
    Of all the non-fiction movies that have already been made about the toxic cesspool of the 2016 election, or how Trump emerged from it like a leather-tanned Swamp Thing, Get Me Roger Stone is the one that best articulates how we got here and who’s to blame.
  14. It Comes at Night
    Once again, Shults has delivered a top-notch psychological thriller, but It Comes at Night builds an unnerving atmosphere around unspecified sci-fi circumstances.
  15. Whitney: Can I Be Me
    The film’s main triumph is in crafting a convincing narrative with a clear point of view.
  16. Sweet Virginia
    The film is gripping from start to finish, even when so much of its menace rings hollow.
  17. I Am Heath Ledger
    I Am Heath Ledger is far too loving a portrait to be confused for art — don’t expect another “Amy” — but the film’s superficial approach is buoyed by an overwhelming degree of sincerity.
  18. Flower
    At times, [Deutch's] performance is perhaps even too strong for the film that’s cobbled together around it, as the actress so convincingly indicates at Erica’s vibrant and complex inner life that she embarrasses the script’s feeble attempts to diagnose and solve her character.
  19. The Trip to Spain
    Director Michael Winterbottom hasn’t just delivered the funniest movie of the year, but also a comedy that casts its characters in a harsh new light.
  20. The Lovers
    The movie deals less with awkwardness of this comedic scenario than the emotions it creates for its central duo, and the psychological struggle when words can only go so far.
  21. The Death and Life of Marsha P. Johnson
    The Death and Life of Marsha P. Johnson is particularly suspenseful for the way it recollects the past through the prism of a murder mystery, brilliantly fusing an archival history with the elements of a detective story.
  22. Abundant Acreage Available
    Set in a single location with a cast of five, the movie offers a lesson in minimalist drama, unfolding as a sharply acted mood piece that never crescendos, but hums along with wise observations and first-rate performances.
  23. Stephanie
    Stephanie showcases the best and worst of that cheap model: It encourges an innovative and economical storytelling approach, but the scrappy production values obscure the stronger moments.
  24. The Wall
    The director’s instincts are a bit too broad to sell the full psychic horror of this scenario, and Taylor-Johnson will never be accused of being able to shoulder a movie by himself, but a super coherent sense of space and a vivid feel for the environment help The Wall to remain upright to the end.
  25. The Circle
    The premise begs to provoke contentious debate around privacy laws in an age of boundless innovation, but it can’t seem to find steady footing in that dialogue, in part because it lacks a substantial means of asking the right questions.
  26. Leaning Into the Wind
    Leaning Into the Wind will inspire anyone who sees it to look for the beauty in every gust, to admire how nature constantly rearranges itself, and us along with it. Even at its most self-conflicted, this is a fascinating reminder that some art wasn’t made to be owned.
  27. The House of Tomorrow
    A mawkish coming-of-age story that marries Sundance vibes with a soft punk spirit, Peter Livolsi’s The House of Tomorrow never manages to flesh out its skeleton of quirks, but its heart is definitely in the right place.
  28. Everything Else (Todo Lo Demás)
    Much of this quiet, slow-burn character study inhabits the dreary, remote quality of Doña’s existence, but with time, the movie pieces it together to reveal the emotional solitude lurking beneath that distant gaze.
  29. Guardians of the Galaxy Vol. 2
    Much of the material gets rehashed with slight variations...and many of the space battles have a redundant quality.
  30. Wakefield
    Swicord, perhaps a touch too reverent of Doctorow’s writing, can’t quite solve the limited emotional range of her protagonist.
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