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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. Road Diary: Bruce Springsteen and the E Street Band
    The best Springsteen songs sound as if they’ve pulled directly from his diary, and while this “Road Diary” might have a bit more polish and gloss, it’s more than worth the read and the ride.
  2. Riff Raff
    Two decades and half a dozen films later, everything that made his debut film feel fresh has now curdled like bad milk with his latest pitch black comedy Riff Raff.
  3. The 4:30 Movie
    The 4:30 Movie owes far more to John Hughes than the Richard Linklater movies that inspired Smith to make “Clerks,” but it contains its own versions of many of the elements that made that film great.
  4. The Cut
    It’s easy to imagine a performer more attuned to deliver intense, driven performances unlock the full potential of this character. As it is, The Cut never quite cuts as deep as you want it to.
  5. Bonjour Tristesse
    Chew-Bose’s directorial debut is a sharp offering that adds to the mystique of the original material and makes a strong case for its own existence.
  6. Better Man
    If Bob Fosse had fallen in love with CGI instead of jazz hands, this is probably the kind of movie he would’ve made.
  7. The Assessment
    A compelling genre thriller that manages to build a world that feels both genuinely new and depressingly realistic if human society goes too far down the wrong path.
  8. All of You
    All of You is an unusual high-concept relationship drama in that its concept seems to have absolutely no impact on the story whatsoever.
  9. Uglies
    King can’t really play a teen anymore, and the message of non-conformity feels stale, in the YA adaptation space and beyond. This trend, much like shifting beauty standards, is already on the way out.
  10. Unstoppable
    It’s obvious that Robles can inspire people, but the film constantly pokes the audience with explicit reminders of this fact — including a scene where Lopez reads Anthony multiple letters written by children saying that they’re inspired by Robles — that it feels downright insulting.
  11. The Killer's Game
    The Killer’s Game finally gives Dave Bautista a great rom-com part to play, so it’s a shame that his rom-com leading lady isn’t given the same opportunity to fully pop.
  12. Without Blood
    The sincerity of Without Blood can’t be denied, but alas, the road to mediocrity is paved with good intentions.
    • 69 Metascore
    • 58 Critic Score
    The Piano Lesson
    Malcolm Washington’s adaptation of The Piano Lesson is referential, often overly so, and while this version contains its fair share of standout sequences along with Oscar-ready performances, the film never fully coalesces into an effective, singular, emotional narrative.
  14. The Fire Inside
    The film still ends in rousing fashion, but it recognizes something far more profound: There are no actual conclusions in real life, even if we can feel moments of triumph throughout. It’s what next that matters.
  15. The Life of Chuck
    As a filmmaker, Flanagan deals in raw, go-for-broke emotion; it’s just that this time around, he’s using that passion to affirm the audience, not disturb them.
  16. Transformers One
    For all of the garishly shiny lens flairs that gleam off our heroes’ metallic heads, Transformers One feels rusted over, offering a predictable, formulaic product as generic as its “working title that never got dropped” name.
  17. Speak No Evil
    This version of Speak No Evil, despite an effectively creepy performance from James McAvoy, grinds the unsettling contours of the original into gory, “Straw Dogs”-lite, home-invasion comeuppance pulp in a last act that’s exactly the sort of dragged-out predictable material Tafdrup sought to avoid.
  18. Heretic
    If only Heretic were as serious about religion as any of its characters (either for or against), perhaps the movie’s second half wouldn’t be so quick to descend into contrived parlor tricks and too-basic displays of suspense, but Beck and Woods aren’t really in the business of pushing any buttons.
  19. The Last Showgirl
    The Last Showgirl is both the role of a lifetime for Anderson, one that can fully capture her incredible emotional intensity and vulnerability, and (we can only hope) the start of a brand new career for her.
  20. Familiar Touch
    Friedland, who also wrote the film‘s script, is not given over to histrionics or blaring displays of emotion, instead asking us to follow Ruth and experience the world through her eyes. The impact is profound.
  21. Eden
    No film about the utter demise of a supposed utopia — a real one, to boot! — and the utter infallibility of human beings should be this fun, but we’re lucky this one is.
  22. Bring Them Down
    Mostly, though, it does only that: Shock. Basic, trite, and without any hope for anything better ever happening.
  23. The Wild Robot
    The result is all the good, big words we want to hear about cinema aimed at our youngest audience members: it’s heartening and true and a little sad and incredibly inspiring with a big, ol’ message about the power of community and coming together in the face of major adversity.
  24. Nightbitch
    Marielle Heller’s version of the story — Yoder is listed as a co-writer — could have taken the magical realist element out entirely, and the film would have played exactly the same. The body horror is downplayed to the point of being functionally nonexistent.
  25. Matt and Mara
    Radwanski’s Toronto-set story isn’t quite a linear, didactic affair drama either, but rather, uses its characters as points of rumination on the present, and its fragile nature, embodied by two people with a complicated past and, most likely, no real future.
  26. Hard Truths
    Pansy’s general distaste for humanity would make Mr. Burns seem big-hearted by comparison, but Leigh’s faith in the root humanity of Jean-Baptiste’s performance — and in the hurt that guides it through even the broadest moments of humor — allows him to indulge in a variety of laugh-out-loud setpieces without any risk of losing Pansy to caricature.
  27. Baby Invasion
    Baby Invasion has a clearer focus this time: It’s to make you, the viewer, feel bad, and often wanting to beg to the screen, “Please god let this end,” or perhaps more aptly, “end me.” Here is a filmmaker who, these days, resents his own audience. Here is a movie for no one.
  28. April
    In this remarkable and shudderingly unresolved film, blessings and despair tend to become one and the same, two limbs of a shared body that Nina’s patients aren’t allowed to control for themselves.
  29. Winner
    [A] frustratingly glib biopic.
  30. Nutcrackers
    We know where this is going. That doesn’t dilute the emotional power of it, of a man seeing where his heart really is and what that means in practice.
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