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For 5,162 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: 3,564 out of 5162
  2. Mixed: 1,332 out of 5162
  3. Negative: 266 out of 5162
5162 movie reviews
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  1. A Minecraft Movie
    It’s a real credit to Black’s irrepressibly unique comic energy that “A Minecraft Movie” never feels quite as hypocritical as it should.
    • 80 Metascore
    • 67 Critic Score
    The Falling Sky
    Rocha and Carneiro might not equal their subjects when it comes to image-making, but their movie does provide a way for these fantasies to, hopefully, outlive those who seek to wipe them out.
  3. The Woman in the Yard
    Commingling an overwrought spin on something like “The Babadook” with the kind of bland nonsense genre fans should expect from a Blumhouse flick in March, The Woman in the Yard is effectively a cinematic garage sale peddling parts from better movies.
  4. Warfare
    Warfare is a film that wants to be felt more than interpreted, but it doesn’t make any sense to me as an invitation — only as a warning created from the wounds of a memory.
  5. A Working Man
    It’s always been clear that Ayer is a sensitive guy, and you can tell that he delights in forcing Statham to embrace his vulnerable side.
  6. The Luckiest Man in America
    Hauser’s performance as a man whose determination to use his unique talents to forge the emotional connections that otherwise evade him holds the entire film together.
  7. Being Maria
    Even as Benjamin Biolay’s dolorous string score threatens to flatten “Being Maria” into a more traditional rise and fall story, the film is buoyed by Vartolomei’s constant pursuit of the truth, and by the intensity with which Maria is always searching to see herself reflected in the eyes of those looking at her — our eyes very much included.
  8. Misericordia
    What a miracle of a movie.
  9. Revelations
    Reworked from Yeon’s comic of the same name (co-written by Choi Gyu-seok), “Revelations” is the kind of layered yet messy adaptation that results from someone trying to find new ways of telling a story they’ve almost thought to death already.
  10. Snow White
    It doesn’t always fit seamlessly together, but it’s far more entertaining than that might lead on. This is a spirited and sweet spin on classic material that deserves kudos for its balance of necessary updates and affection for the old ways. Mostly, it’s a reminder of what’s actually worth considering and critiquing: the final product. This one is good.
  11. The Alto Knights
    It’s almost as if Frank can’t fathom why anyone today should care about the incredible true story of how some enterprising immigrants without a nickel to their names formed a multi-billion-dollar racket that shaped a huge part of 20th century America. The tragedy of “The Alto Knights” is that Levinson can’t either.
  12. GEN_
    Matarrese’s reverence for Bini is balanced, matter-of-fact, perhaps a tad bemused. The Italian director, also the main camera operator, is interested as much if not more in magnifying the patients and capturing the range of their emotions — their silent traumas and repressed frustrations, corner smiles and qualified satisfactions.
  13. Hallow Road
    Unfortunately, the film never transcends its tone of ever-present and palpable danger to become a more satisfying character piece.
  14. The Dutchman
    Still, as with any great theater, the performances here are superb, with Holland telegraphing Clay’s years of insecurity into the confines of a one-night-only movie that opens a window onto a Black identity crisis, only to shut it down on us as we peer over the sill.
  15. Nirvanna the Band the Show the Movie
    Nirvanna the Band the Show the Movie delivers everything a fan of the show could want, expanding the level of spectacle while keeping the core of the ongoing project intact.
  16. The Day the Earth Blew Up: A Looney Tunes Movie
    The Day the Earth Blew Up isn’t arguing for the past at the expense of the future, it’s simply trying to put a modern spin on a classic formula in a way that makes you wonder why we ever left it behind.
  17. The Parenting
    Shot and directed like a sitcom episode, The Parenting runs on (good, awkward, creepy) vibes, which is probably why Parker Posey, who plays the home’s “mysterious” owner and exposition dispenser, injects energy into the film just by being her off-kilter self. . . Unfortunately, The Parenting isn’t a hangout movie where tone can reign supreme.
  18. Ash
    Trying to fight this film’s sensations, as unpleasant as they may be at times, will bring nothing but misery. So just give in, vibe out, and take solace in the fact that “Ash” is way more accessible than Flying Lotus’ first film.
  19. The Threesome
    The Threesome doesn’t always feel like what you might think of when you imagine a “modern” rom-com, but that’s what makes this one of the rare movies that actually fits the bill.
  20. The Rivals of Amziah King
    There’s too much movie here, but isn’t that better than none at all? Patterson’s big swings in filmmaking transcend the occasional shakier sum of their parts.
  21. Good Boy
    It’s easy to ascribe the success of Good Boy to the power of its canine star, but the film refuses to let Indy feel like a cheap gimmick.
  22. The Age of Disclosure
    It feels fair to say that The Age of Disclosure makes a more serious argument for the idea that we’ve had close encounters with the third kind than any documentary that preceded it.
  23. Death of a Unicorn
    The lurching between genres, whether horror or comedy or heartfelt father-daughter movie, becomes increasingly transparent and frustrating as the movie tries to win our hearts back over with sentimental weepie moments in the film’s last act.
  24. Holland
    Cave’s work here is weighed down by a tensionless Andrew Sodorski-penned script that lacks intrigue and takes about an hour and a half to get going. Then, the movie is over.
  25. Black Bag
    If Black Bag denies us the kind of duplicitous confrontations that other versions of this story might take pains to savor, Soderbergh’s aversion to giving audiences what they want — and the severe angularity that he tends to offer us now instead — is almost as rewarding here as it was utterly indefensible in “Magic Mike’s Last Dance.”
  26. Drop
    Drop works best in its nimblest moments, but ultimately we should have nothing but gratitude for a movie that has almost zero bloat and tells an effective, original story in 90 minutes, even if this sleek package is made up of some shopworn tropes.
  27. The Actor
    Cuttingly funny at times, The Actor isn’t much interested in answering any of those questions, but this semi-inert death trip of a film teases a certain pull from its cosmic uncertainty.
  28. The Accountant 2
    It manages to offer more heart and more laughs the second time around.
  29. CHAOS: The Manson Murders
    Maybe it’s a copout to argue that a film’s makeup is deliberately frustrating and disordered because it reflects a frustrating, disordered reality; maybe it’s a filmmaker’s job to force some coherence onto the chaos. But when you’re dealing with evil that has no easily discernible justification, it’s probably best to accept that the mystery will never satisfy.
  30. Novocaine
    The film makes a great case for Quaid as action hero, Midthunder as romantic charmer, and Berk and Olson as being ready to step out of their horror-centric background.
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