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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. Me Before You
    Me Before You is such a wonderfully uncynical movie that it almost doesn’t matter that it isn’t very good.
  2. Tikkun
    It offers a striking contrast to other visions of modern Israel and Jewish identity. It may be the wildest vision of ultra Orthodox Judaism ever, but it’s not an empty provocation.
  3. King Jack
    King Jack, while unabashedly a coming-of-age story, is even better as a portrait of masculinity in crisis, of how its passed down from one generation to the next, and how that process might best be interrupted.
  4. Norman Lear: Just Another Version of You
    Lear remains a keen observer of his own ability to inject leftist politics into popular culture. The chief stylistic devices used to bring his experiences to life are a different story.
  5. The Witness
    Although The Witness functions just fine as a true crime documentary in the vein of such en vogue offerings as “Serial” and “Making a Murderer,” the film makes its mark when it leans in on the deeply personal connection between its subject and its storyteller.
  6. Warcraft
    This is truly a depressing experience. It’s rare to feel such pity for a major studio movie, but watching Warcraft bend over backwards to set up a sequel is like watching a desperate paramedic apply CPR to someone who’s clearly been dead for hours.
  7. Princess
    Princess is an arresting and taxing film experience, and although Ezer’s execution and vision are clear-eyed and she’s portraying experiences that still (tragically) occur in the real world, it’s difficult to wonder what the film itself is hoping to accomplish.
  8. Popstar: Never Stop Never Stopping
    Watching “Popstar,” there’s no getting around one stubborn truth about this frequently hilarious movie: The incident that may have inspired it was also the incident that rendered it unnecessary.
  9. Gleason
    While fairly straightforward in its attempts to galvanize viewers around efforts to combat the disease, Gleason hits those familiar marks with superb aim.
  10. The Do-Over
    The Do-Over is atrocious, but it's atrocious in different ways than any of Adam Sandler's previous comedies.
  11. The Ones Below
    Although Farr layers on the creepy until the last frame of The Ones Below, the film's ultimate reveal is hardly shocking, and that the film spends a gratuitous amount time unspooling it long after it's clear what has gone down feels indulgent and unearned.
  12. Holy Hell
    There's an undeniable anthropological value to Allen's footage — imagine if one of David Koresh's most-trusted disciples had recorded every second of his time in the Heaven's Gate — but his film is far more compelling as an artifact than it is as a narrative.
  13. Unlocking the Cage
    Qhile the 90-year-old Pennebaker doesn't appear to deviate from the observational aesthetic that has defined his life's work, Unlocking the Cage is nevertheless an ill-fitting first for he and his partner: an issue-based film.
  14. The Wailing
    This is horror filmmaking that's designed to work on you like a virus, slowly incapacitating your defenses so it can build up and do some real damage.
  15. Presenting Princess Shaw
    Thru You Princess develops a fairy tale quality that calls into question the nature of its production. However, the air of manipulation throughout the story only helps to pronounce its themes.
  16. Blood Father
    By no means a great piece of filmmaking, Blood Father nevertheless recaptures some of the rough attitude of Gibson's "Mad Max" days, as he shoots, growls and head-butts through a routine tale of angry drug lords.
  17. Elle
    Elle doesn't always maintain the clever balance of naughtiness and dramatic confrontations that make it such an appealingly unconventional romp.
  18. Staying Vertical
    The film never quite flies off the rails so much as it careens from side to side on the same beguiling path, with the most remarkable outcome being that the enigmatic pieces fit together.
  19. Slack Bay
    Combining savage archetypes with spot-on wit, Slack Bay is a fun, peculiar romp with deeper conceits lurking beneath the surface.
  20. Sieranevada
    To the film’s immense credit, the performances drip with realism. The ensemble genuinely feels like a family, particularly as their conflicts bubble to the surface with continually awkward results.
  21. Risk
    Unlike "Citizenfour," there's not a whole lot here that hasn't already been revealed through the scrutiny of Assange's iconoclastic legacy, but the filmmaker's skillful treatment of the material yields another look at major historical events on an intimate level.
  22. The Red Turtle
    This is a quiet little masterpiece of images, each one rich with meaning, that collectively speak to a universal process.
  23. Paterson
    Carried by an appropriately low-key Adam Driver and Jarmusch's casual genius for capturing offhand remarks, Paterson is his most absorbing character study since "Broken Flowers" -- and far more grounded in real life. There's no context necessary to recognize it as his most personal work.
  24. Neruda
    Neruda turns all of the filmmaker's preceding statements on his native land into a unified whole. In essence, the film asserts that even as history passes into legend, it speaks to deeper truths.
  25. The Last Face
    Even without its mopey, painfully on-the-nose dialogue and ponderous story, The Last Face sets itself up for failure with its premise, and Penn's apparent inability to recognize it as such. It's his worst movie.
  26. I, Daniel Blake
    It's a touching story that would seem altogether familiar if weren't also loaded with urgency.
  27. The Handmaiden
    No matter its overarching ridiculousness, The Handmaiden remains a hugely enjoyable dose of grotesque escapism from a master of the form.
  28. Aquarius
    Though Braga's performance sometimes outshines Mendonça's leisurely two-and-a-half hour narrative, in its better moments the two work in marvelous harmony.
  29. It's Only the End of the World
    [Dolan's] crafted the semblance of a substantial movie that never quite gets where it was supposed to go.
  30. Hell or High Water
    Grounded in lively performances by Chris Pine and Ben Foster as a pair of bank-robbing brothers, with a capable assist from a no-nonsense Jeff Bridges as the sheriff on their tail, Hell or High Water tries nothing new but delivers a fun ride.
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