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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. Certified Copy
    A comedy of remarriage buried in intellectual abstraction and cinephilic obsessions, Certified Copy wanders a bit but never loses focus, with the only certainty being that its gimmick is genuine.
  2. I Saw the Devil
    Eventually, Soo-hyun's relentless pursuit-and-release approach outlives the director's skill and the premise starts to feel redundant.
  3. Uncle Boonmee Who Can Recall His Past Lives
    The magic of Uncle Boonmee is that it makes all viewers feel like the strange ones.
  4. Of Gods and Men
    Ignore the precise religious context and it stands perfectly well as a restrained look at personal convictions in the face of certain death.
  5. The Over the Hill Band
    Like Stephen Walker's delicate nonfiction portrait "Young@Heart," it's a genuine heart-tugger about senior citizens rediscovering their youth by singing pop music; like Craig Brewer's crowdpleasing "Hustle & Flow," it sympathizes with a struggling rap artist without glossing over his flaws.
  6. Heartbeats
    In a sense, Heartbeats demonstrates that Dolan has a lot on his mind as a budding filmmaker.
  7. The Chaperone
    Flatly directed by Stephen Herek from a screenplay by S.J. Roth, the movie seems to be at peace with its mediocrity. As a vehicle for WWE champ Paul "Triple H" Levesque, it's haplessly stuck on cruise control.
  8. Zero Bridge
    Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.
  9. Loveless
    Loveless proceeds like a messy younger sibling of Noah Baumbach's "Greenberg" as it tracks Andrew's ongoing denial of the mounting pressures to settle down, many of which come from his reasonably sane ex, Joanna (Cindy Chastain).
  10. We Are What We Are
    Representing lower-class violence taken to an extreme, the cannibalism cannot be contained by police work. The movie's gradual build to a thrilling, appropriately bloody climax intensifies this disconnect.
  11. Putty Hill
    Unable to express the sorrow of Cory's passing or the larger sense of detachment from the world it represents, most of the people in Putty Hill try to remain disaffected. By pestering them with questions, Porterfield gets under their skin - and, in the process, ours as well.
  12. Lovers of Hate
    Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.
  13. Cedar Rapids
    Helms plays angelic insurance agent Tim Lippe with gentle nobility and hilarious naivete.
  14. Poetry
    It may go without saying that Poetry adopts a lyrical tone, but this forms the crux of its appeal. In this case, the title says it all.
  15. Into Eternity
    Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.
  16. Gabi on the Roof in July
    Even as "Gabi" steadily slides downhill and ends with a shrug, it remains intermittently fun and never entirely unbearable-much like Gabi herself.
  17. A Somewhat Gentle Man
    Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
  18. Barney's Version
    The highbrow intentions of Barney's Version suffer from a constant pile up of dead ends.
  19. Twelve Thirty
    A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
  20. If I Want to Whistle, I Whistle
    Set in a barren juvenile detention center, the movie works as a grueling coming-of-age story, linking it to the likes of "4 Months, 3 Weeks and 2 Days," even if it lacks the same lasting appeal.
  21. The Time That Remains
    Suleiman's most poignant moments are largely wordless. Nothing feels more affecting than Suleiman's ubiquitous frozen stare. Although he never utters a sound, his silence speaks volumes about the inability to resolve the social ramifications of Middle Eastern strife.
  22. Americatown
    The whole thing is a flimsy parody of an easy target-at best infectious and at worst gratingly incoherent, but uniformly original.
  23. She Dances
    It’s unlikely to be remembered as anything more than an excuse for Steve Zahn to make a movie with his daughter, which should end up being a strangely fitting legacy for a film about how precious and fleeting moments can be.
  24. Nouvelle Vague
    Godard’s revolutionary crime drama about a guy, a girl, and a gun comes off more like a pet project or even a student film here, part of both the charms and frustrations of Nouvelle Vague.
  25. Theater of Thought
    A characteristically playful documentary.
  26. Mister Organ
    While Farrier is extremely likable — and his subject the polar opposite of that in every possible way — the documentary he’s made about Organ inadvertently complicates the matter of who is trapped with who, or if anyone is trapped at all. The finished product often feels more like watching a strained pas de deux than it does someone latching onto their prey.
  27. King Coal
    King Coal goes deeper into the cultural roots of the opioid crisis, looking at a region both devastated and nurtured by “the King” and asking what a future without it might look like.
  28. The Lost King
    By its final act ... “The Lost King” picks up enough steam ... yet even this last 40 or so minutes highlights how plodding the rest of the film is, how dull this story about literal grave-digging feels, when nothing less than elemental truth and a singular mission in life are reduced to, well, just a story, and not even an altogether real one at that.
  29. Sirens
    With the band’s headstrong co-founders leading their tale, Sirens is a powerful reminder that punk isn’t dead if you know where to look.
  30. The Desperate Hour
    [A] maudlin, truly terrible thriller that relies far too heavily on manipulation and narrative revision to deliver a “message” that we don’t need to be spelled out for us.
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