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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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    • 84 Metascore
    • 91 Critic Score
    The Bad News Bears
    Rowdy, profane and, happily avoiding the cheap theatrics of the triumphant finale usually found in sports films, The Bad News Bears is yet another wonderfully unruly example of the lost, lamented ’70s cinema.
    • 68 Metascore
    • 83 Critic Score
    A Boy and His Dog
    A Boy and His Dog is worth seeing if only just for the bizarre turns of phrase tossed around between the rag-tag pair.
  3. Messiah of Evil
    Messiah of Evil is an underseen gem that manages to creep under the skin despite its very low budget.
    • 72 Metascore
    • 83 Critic Score
    It's Alive
    It’s Alive presents a dialectic of horror in which monstrous excess is first repudiated and rejected, then returns in the form of self-loathing and social stigmatization, and is finally painfully accepted as an essential part of ourselves.
    • 84 Metascore
    • 91 Critic Score
    Early Spring
    Feeling as his films often do, both traditional and surprisingly ahead of its time, it’s one of the best films ever made on the subject of infidelity and marriage.
    • 80 Metascore
    • 91 Critic Score
    Lady Snowblood
    Even a passive comparison of Tarantino’s work and the first Lady Snowblood film betrays that it had a significant effect on the filmmaker. The film’s non-linear storytelling, morally uncertain characters, freeze-frame character introductions and vivid chapter titles are all hallmarks of Tarantino’s movies.
    • 82 Metascore
    • 83 Critic Score
    Thieves Like Us
    There’s a reason this Altman picture isn’t as recognized as his other ’70s classics. But as laid back and matter-of-fact as Thieves Like Us is — there’s no score for example, just diegetic sound — it’s still a fascinating piece of work in Altman’s not-always-perfect, still-interesting ouevre.
  8. The Last Detail
    There’s a deep sense of melancholy and finality that runs through The Last Detail even when it’s at its funniest, not just because of Meadows’ fate, but because of Buddusky and Mulhall’s collective guilt for being part of a system that would dole out such a punishment.
    • 73 Metascore
    • 83 Critic Score
    Fantastic Planet
    It’s not a hard movie to watch, but it’s a thought-provoking test about one’s capacity to push through distractions and discover what’s important.
    • 57 Metascore
    • 83 Critic Score
    Robin Hood
    Robin Hood isn’t a history lesson, it’s a jaunty, beautifully animated series of very funny set pieces that remain effective, perhaps more so to younger audiences unfamiliar with the strong personalities doing the voices.
    • 80 Metascore
    • 67 Critic Score
    Bang the Drum Slowly
    The film isn’t quiet a classic (though it is one of the better baseball movies to this day), but it’s notable as the first major indicator that De Niro was going to be a force to be reckoned with.
    • 40 Metascore
    • 42 Critic Score
    Battle for the Planet of the Apes
    It’s hard to get the same feeling of awe and epic scale that the series’ best installments can offer when you’re essentially watching ten guys squabble in a forest.
    • 70 Metascore
    • 50 Critic Score
    The Offence
    An interesting but not entirely rewarding inversion on Lumet’s continued study of law enforcement.
    • 93 Metascore
    • 100 Critic Score
    Late Spring (1949)
    It could, from premise alone, sound like an Austen-ish comedy of manners, and perhaps the film that Ozu might have made early in his career. Here, though, it’s an immaculate, gentle drama in which society gets in the way of the happiness of a father and daughter, and growing up and moving away isn’t so much a victory as a bitter cost of time and change.
    • 90 Metascore
    • 100 Critic Score
    Le Samouraï
    An elegantly stylized masterpiece of cool by maverick director Jean-Pierre Melville, 'Le samouraï' is a razor-sharp cocktail of 1940s American gangster cinema and 1960s French pop culture-with a liberal dose of Japanese lone-warrior mythology. [16 Aug 2017]
    • IndieWire
    • 49 Metascore
    • 91 Critic Score
    Conquest of the Planet of the Apes
    The Planet of the Apes films had always been political, but with Conquest of the Planet of the Apes, things got angry. And it was awesome.
    • 59 Metascore
    • 91 Critic Score
    Bedknobs and Broomsticks
    The script is tight and witty with sparks of sophistication. This is a film that, while never quite given the rightful place in the Disney canon it deserved, had a positive influence on many lives over the decades, including that of this writer.
  18. The Devils
    The 1971 epic offers a stylish and scathing parable about the dangerous ways that the powerful can exploit religious zeal to stay that way.
    • 74 Metascore
    • 83 Critic Score
    The Panic in Needle Park
    A portrait of two junkies in love—largely faded from memory, but it proves well worth revisiting.
  20. Two-Lane Blacktop
    Two-Lane Blacktop is primarily a mood piece, and Hellman wants the audience to be imbued with the uneasy feeling of living without any roots. It’s that feeling that’s elevates Two-Lane Blacktop far beyond genre trappings and into the heights of cinema.
    • 93 Metascore
    • 100 Critic Score
    McCabe & Mrs. Miller
    It’s among Altman’s greatest films because its grandest themes – the end of the Old West, the rise of modern civilization – come through in an intimate story, one that never reduces its characters to symbolic figures. Paired with Leonard Cohen’s mournful songs and Vilmos Zsigmond’s evocative, hazy cinematography, it’s the most emotional movie Altman ever made.
    • 61 Metascore
    • 58 Critic Score
    The Anderson Tapes
    Connery more than proved he could carry a movie away from 007, and the film remains pretty enjoyable, even if it’s an uneasy blend of the kind of gritty crime picture that Lumet would make his stock-in-trade, and the lighter caper flick so popular at the time.
    • 69 Metascore
    • 91 Critic Score
    Escape from the Planet of the Apes
    Escape from Planet of the Apes is, in fact, a superior film in many ways to the first, but is lacking that film’s freshness and originality. Still: an undeniable high watermark for the franchise.
  24. Original Cast Album: Company
    Pennebaker captures Sondheim’s eccentric perfectionism with a lovingly amused gaze, offering a rare glimpse of the notoriously private musical theater legend.
    • 46 Metascore
    • 50 Critic Score
    Beneath the Planet of the Apes
    The original Planet of the Apes is a hard act to follow, and Beneath the Planet of the Apes isn’t really up to the challenge.
    • 79 Metascore
    • 100 Critic Score
    Planet of the Apes
    A brilliant synthesis of story, theme, performance and innovation.
    • 71 Metascore
    • 83 Critic Score
    Seconds
    Frankenheimer’s 1966 riff on identity (and lack thereof) and corporate paranoia is one of his most unnerving, claustrophobic and entertaining efforts.
    • 98 Metascore
    • 91 Critic Score
    Au hasard Balthazar
    Through Bresson's unconventional approach to composition, sound, and narrative, this simple story becomes a moving parable about purity and transcendence. [16 Feb 2018]
    • IndieWire
    • 67 Metascore
    • 83 Critic Score
    The Cincinnati Kid
    It still stands up as a solid little poker movie, setting up the template for many imitators to come.
    • 83 Metascore
    • 91 Critic Score
    From Russia with Love
    From Russia With Love has two of the sexiest images I’ve ever seen: the opening credits with the names projected on belly dancers’ writhing, whirling bodies, and the scene where a bare-chested, towel-clad Bond enters his bedroom and finds Tatiana Romanova in his bed. Images like that aren’t cute. They’re primordial.
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