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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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    • 82 Metascore
    • 50 Critic Score
    Apocalypse in the Tropics
    Costa is, above all, an excellent chronicler of the moods swirling in her nation, but there is a flipside to the way she paints the picture.
  2. And Their Children After Them
    The humble visual language is a vessel for a rich human drama. Bear with what sometimes resembles a television movie for the slowburn panorama of life it captures.
  3. The Front Room
    Overwrought with visual style but relentlessly one-note, The Front Room is willfully annoying and dubious in its purpose.
  4. Joker: Folie à Deux
    Phillips struggles to find a shape for his story without having a Scorsese classic to use as a template, and while a certain degree of narrative torpor might serve “Folie à Deux” on a conceptual level, its turgid symphony of unexpected cameos, mournful cello solos, and implied sexual violence is too dissonant to appreciate even on its own terms.
    • 76 Metascore
    • 83 Critic Score
    Rebel Ridge
    It’s a muscular, high-octane story about cops living above the laws they’re paid to enforce, and growing more desperate and dangerous with every threat to their unchecked power.
  6. Pavements
    Pavements is an important documentary. It’s a reminder that the fourth (and fifth and sixth) wall can be smashed, that the rock doc can be reinvented. And that when the message is meta for meta’s sake, why not make the medium that way, too?
  7. Queer
    Guadagnino wants not only to expand your consciousness as a moviegoer, but to cut you open and rearrange all the parts of you that see and feel things when you watch a film at all.
  8. I'm Still Here
    The idea of them getting justice never feels on the table, but the film instead is a path out of the madness of a system where to simply have what happened to their father admitted would fill some of the void he has left behind.
  9. The Room Next Door
    Elegant and confounding in equivalent measure, Pedro Almodóvar’s first English-language feature could’ve used a finishing touch from an American script supervisor.
  10. Nickel Boys
    Pure sense and subjectivity in a way that evokes the same visual magic of Ross’ documentary work, Nickel Boys so viscerally and fundamentally centers the experience of its young Black characters that even the most racist brand of revisionist history could never hope to deny their truth.
  11. ¡Casa Bonita Mi Amor!
    Parker and Stone joked that they’ll have to make a lot more TV shows to pay off their ill-fated investment, but it’s entirely possible that Casa Bonita will be a bigger piece of their legacy than anything in their filmography.
  12. Wolfs
    Even if Wolfs is a light affair in the end, it’s a smashing good time, confidently told and unpredictable, with two charismatic leading turns that are nearly even upstaged by Abrams.
  13. September 5
    September 5 works most powerfully as a behind-closed-doors, single-room thriller, even as what we see on a wall of monitors is almost too unreal to believe.
  14. Saturday Night
    Forget in-jokes or fan service, this is a movie so long on cos-play (much of it brilliant) and short on character development (none of it interesting) that it requires a casual knowledge of the show’s lore to understand, let alone to enjoy.
  15. The Brutalist
    Corbet and Fastvold’s script is left to engineer a reductive non-climax that illustrates the relationship between capitalist and laborer in the most obvious terms imaginable.
  16. The End
    There’s a thin line between kindness and complicity, and “The End” achieves its sneakily immense power by dancing all over it with an ambivalence that Oppenheimer’s previous work never allowed for.
  17. Conclave
    Conclave is far too entertaining to dismiss in a puff of white smoke, even if the film might be a bit too convinced of its own dramatic import.
  18. Cloud
    This riveting and highly unusual shoot-em-up finds Kurosawa returning to his roots, only to discover that psychological terror isn’t quite as abstract as it used to be.
  19. The Order
    The Order is one of those: yet another Movie We Need Now, but the director inadvertently makes the case that maybe we don’t.
    • 63 Metascore
    • 67 Critic Score
    Piece By Piece
    Piece by Piece is ultimately surface-level entertainment, a light, visually-inventive ride without much to offer its audiences beyond a reaffirmation on the values of hard work and believing in one’s self.
  21. The Friend
    It’s the sort of witty, wise, and warm character study we seem to be running out of these days. And that’s just when it comes to its standout dog star, the Great Dane (emphasis on great) Bing.
  22. Fly
    Fly is divided between thinking all of this is extremely cool and realizing how morbid it all seems, but it ultimately lands on the side of: Yeah, it’s pretty cool. That’s a disorienting feeling for a viewer.
  23. Babygirl
    Without Kidman in a fearless turn and Dickinson there to pivot her to the edge, “Babygirl” wouldn’t work as smashingly as it does. This is a sexy, darkly funny, and bold piece of work. Don’t sleep on it.
  24. Kill the Jockey
    Kill the Jockey is an elusive and sometimes frustrating watch. It elides interpretation in ways both intentional and undercooked, flirts with a greatness that isn’t fully earned, yet it has some glorious moments and never unseats the viewer.
  25. Maria
    Larraín’s freeform portrait of the diva’s final days seldom feels like more than a libretto: passionately sung, but lacking the detail and fullness needed to bring it to life.
  26. Merchant Ivory
    This sloppy, scattered documentary, very much lacking the refinement of Merchant Ivory’s own films, is a missed opportunity to explore why their films are great, what exactly is it that makes viewers return to them time and time again.
  27. Beetlejuice Beetlejuice
    Burton has thrown everything at the wall and then carefully sculpted what has slithered down into a rollicking yet disciplined supernatural caper with a heart.
  28. The Becomers
    Clark’s latest is more candy-tart than saccharine-sweet — but for those unfamiliar with his out-there style, this electric portrait of doomsday-defying love serves as a ready-made soft spot for the indie filmmaker.
  29. Mountains
    Sorelle has said that she created “Mountains” as a movie where “between plots lie moments.” How refreshing. Especially since those moments really feel like they exist, more than just “being captured.”
  30. The Killer
    The movie works so well — and remains so light on its feet — because it eschews the life-or-death weight of Woo’s original in favor of focusing on the unbridled joys of resurrection.
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