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For 5,235 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 La Gradiva
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,618 out of 5235
  2. Mixed: 1,348 out of 5235
  3. Negative: 269 out of 5235
5235 movie reviews
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  1. At Any Price
    Too late, At Any Price displays the presence of a skilled filmmaker capable of using ambiguous pauses and representational imagery to convey the issues of greed and other covert desires. Until then, it's a slovenly affair only distinguished by its name cast.
  2. The Place Beyond the Pines
    That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
  3. The Sapphires
    Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.
  4. To the Wonder
    To the Wonder renders the familiar terrain of romantic dysfunction on a grand scale. Malick haters may not change their tune, but at least they can admit that To the Wonder maintains a consistent thematic focus.
  5. The Way, Way Back
    Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
  6. The End of Love
    There are powerful ingredients here, certainly enough to create a deeply felt work, but The End of Love lacks the additional layers of storytelling necessary for Webber to make the audience feel as close to the material as he does to his son.
  7. Ginger & Rosa
    A viscerally charged movie that foregrounds surface tensions and gripping performances, Ginger and Rosa is the filmmaker's most accessible and technically surefooted work to date.
  8. Beyond the Hills
    Mungiu's method creates the feeling of being submerged in a maze of confrontations and chatter, but the build-up gets so tiring that the concluding scenes come as a relief instead of a payoff.
  9. Frances Ha
    At times, Frances Ha strains from emphasizing the characters' snarkiness and disregarding plot. By routinely going nowhere, however, the movie eventually finds a distinctive voice that carries it through.
  10. Red Flag
    This could be a recipe for excessive self-indulgence, but the meta quality of Red Flag is entirely irrelevant to its low key charm and persistent irreverence -- anchored, as always, by Karpovsky's loopy screen presence.
  11. Rubberneck
    Rubberneck has more in common with the growing Karpovsky oeuvre than it may appear -- and even inadvertently critiques it.
  12. Simon Killer
    With a dense, often impermeable style and a mentally unstable protagonist, Simon Killer is like watching the disturbed anti-hero of "Afterschool" all grown up.
  13. The Grandmaster
    Intermittently action-packed and lethargic, the movie dances around formula. By delivering an expressionistic character study with bursts of intensity unlike anything else in his oeuvre and yet stylistically representative of its entirety, Wong practically has it both ways.
  14. Before Midnight
    Before Midnight is the rare cinematic achievement that implicates alert viewers in its mission to understand the mysteries of intimate connections.
  15. Like Someone in Love
    While not his best work, Like Someone in Love is a nimble expression of Kiarostami's appeal: He remains one of the few directors capable of pulling you into a narrative and making you question its motives at every turn.
  16. Side Effects
    The scenes pile up with frenetic intensity; as with Soderbergh's other recent exercises in the suspense genre, no single cutaway goes wasted.
  17. Upstream Color
    Upstream Color is routinely confusing but not oppressively so; its final exquisite moments explain little yet still manage to invite you in.
  18. Stoker
    More blatantly an exercise in style than anything on par with the director's crowning achievements, and suffers to some degree from the predictability of its premise.
  19. Somebody Up There Likes Me
    Byington excels at turning the edict that time waits for no one into a sensory experience. No matter how sly it gets, Somebody Up There Likes Me still retains that fundamental truth.
  20. Hors Satan (Outside Satan)
    The problem with Outside Satan is that the filmmaker has remained faithful to expectations without enlivening them. It's a curious exercise unworthy of his expertise, but then he may realize as much.
  21. Les Miserables
    Hooper's approach comes across as the equivalent of sitting in the front row of a stage play while the entire cast leans forward and blares each song into your eardrums.
  22. On the Road
    Overlong and unfocused in parts, Salles' adaptation nonetheless holds together about as well a movie can when the odds are so heavily stacked against it.
  23. Barbara
    The movie's stakes are alternately personal and political, but Petzold's skill truly comes into focus in the tense climax, when those two aims come together with a powerful act of defiance.
  24. Aquí y Allá (Here and There)
    It's incredibly uneventful and devastating all at once.
  25. Amour
    Although not exactly heartwarming, Amour has a more contained vision of human relationships than Haneke's previous films without sacrificing its bleak foundation. It's his most conventional movie about death -- and the most poignant.
  26. Save the Date
    This is still a pretty familiar journey that's easier to pity than hate -- much like Caplan's character.
  27. Convento
    By making the inanimate animate, they make nature come to life, and so does Convento.
  28. Django Unchained
    At times more in line with "Blazing Saddles" than the grimly bawdy qualities that define many bonafide oaters, Django Unchained erupts with a conceptual brilliance from the outset that never fully meshes with its clumsy storyline. Nevertheless, it's a giddy ride.
  29. Happy New Year
    Happy New Year provides a rare glimpse into the darker ramifications of war that rarely take center stage in the national dialogue. This struggle has nothing to do with political motives or tactical movements, but rather the battle to retain sanity against impossible odds.
  30. Promised Land
    Promised Land can't help but preach its cause in obvious ways that continually hold back an otherwise well-acted, swiftly paced drama.
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