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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. Sting
    There’s decent fun to be had in this crafty and contained Aussie skin-crawler (a low-budget affair that doesn’t scrimp when it comes to its WETA-created monster), but Sting is a bit too small for its massive alien spider to maneuver itself in unexpected ways, and the tender human story that Roache-Turner weaves around her lacks the bite it needs to melt your heart or liquify any of your other organs.
  2. The Long Game
    The Long Game is determined to ape the tropes of a feel-good sports drama, but only as a means to an end, and its struggle to balance the demands of the genre with the deeper concerns underpinning this story ultimately stops either side of that equation from going the distance.
  3. Infested
    What Vaniček’s intricately crafted creature feature lacks in the specialness of its specimen it makes up for with a captivating killing den that’s inhabited by multidimensional characters as melancholy as they are hilarious.
  4. I Don't Understand You
    Outrageously snappy and unapologetically fun, I Don’t Understand You is a must-see for anyone who likes queer romance, horror-comedy, and/or hot Italians.
  5. Abigail
    Yes, “Abigail” was conceived as a new take on “Dracula’s Daughter.” But as the finished product stands, that infamous origin story is as invisible as a vampiric reflection. Not only is Abigail routinely sidelined by a plot that fails to trust her skills, but the ostensible underpinnings to her character are as half-assed as one-sided fang.
  6. The First Omen
    Stevenson’s spin on The Omen can tie its borderline NC-17 terror to a multi-decade genre legacy suddenly feasting on noticeably improved visual artistry and a narratively satisfying revamp of stale IP.
  7. Scoop
    The film is too close to — and too impressed by — the simple fact of what just happened to see under the surface, or even bother to look that hard.
  8. Chicken for Linda!
    No disrespect to the similarly Proustian rewards of “Ratatouille,” but here is a 73-minute movie — animated by about 10 people — that manages to deliver twice the flavor with a fraction of the ingredients.
  9. We Grown Now
    While the moments focused on the kids’ lives are the best part of the film — James and Ramirez have natural chemistry and are compelling to watch — Baig occasionally falters on that front too.
  10. Sue Bird: In the Clutch
    Frustratingly, despite being jam-packed with facts, there is not much insight into what makes Bird tick, what makes her a great player, or what her legacy actually means to the sport.
  11. In the Land of Saints and Sinners
    The unrepentant movie-ness of “In the Land of Saints and Sinners” can also be part of its charm, especially when it comes to the cast members whose performances aren’t as stale as their parts.
  12. Lousy Carter
    The film would have benefitted from either committing to Carter’s growth or taking the comedy in a much darker direction, but the middle path it trods is ultimately unsatisfying. Lousy Carter might be a reminder that middle age is filled with monotony and unsolvable problems, but that doesn’t mean our movies have to be.
  13. Godzilla x Kong: The New Empire
    This goofy-ass, clumsily assembled Saturday morning cartoon of a movie might as well be called “Godzilla Minus Everything,” if only because the more accurate “Godzilla Minus Everything Plus Dan Stevens in a Hawaiian Shirt” wouldn’t fit on a marquee.
  14. Música
    Música heralds the arrival of a filmmaker, an actor, and a musician worth paying attention to, while also delivering a winning and visually inventive musical comedy.
  15. Humanist Vampire Seeking Consenting Suicidal Person
    Humanist Vampire Seeking Consenting Suicidal Person isn’t a wholly new take on the subgenre. But it is a charming one — a rom-com for teenagers (and teenagers at heart) who swoon when cute boys talk about death.
  16. Transition
    The film makes plain the experience of being caught between a rock and a hard place, a boldly incisive metaphor for the trans experience.
  17. Oddity
    Oddity delivers a brilliant, bespoke, and tightly entertaining string of ideas that work stronger as a collection
  18. On the Adamant
    Philibert’s fly-on-the-wall documentary is all the more effective because the director refuses to pretend that he isn’t visible — not in this place where people come to be seen, and not merely looked at.
  19. Do Not Expect Too Much From the End of the World
    Observing a nation’s shortcomings is not typically this fun. Yet — unlike latter-day miserabilist works by the likes of Ken Loach — Jude’s Do Not Expect Too Much from the End of the World and its barbs stick entirely because Jude trusts his audience to appreciate tonal scope.
  20. Late Night with the Devil
    Late Night with the Devil fails to deliver an ending as fresh as the rest of the movie. The fact that you’ll see it coming makes it less fun but sure as hell doesn’t make it less honest.
  21. Femme
    The film’s outsides, all darkness and furtive lighting, seem to pour out of the characters’ insides, where pockets of trauma live in their own self-erected shadows.
  22. Carol Doda Topless at the Condor
    At the very least, it seems safe to assume that Doda wouldn’t mind how this documentary casts her as a quasi-deliberate revolutionary, but McKenzie and Parker lack the intel to see any deeper into Doda’s bimbo savviness, just as they lack the ambition to explore whether intentionality even matters when it comes to changing the world.
  23. Riddle of Fire
    Riddle of Fire is all too happy to wander around in circles as it simmers in its own absurdity, as if any kind of legitimate incident might threaten to break its spell.
  24. Free Time
    Rather than a spirited diatribe about the need to step away from our desks and live life, it’s a thoughtful little comedy about how those soul-crushing hours in the office have the unintended benefit of giving us a personal life that’s worth missing.
  25. Terrestrial Verses
    This film is as muted in its approach to character and drama as its color palette, but the result is devastating.
  26. The Contestant
    The details are so hypnotically sadistic that Titley’s documentary is seldom bothered to deviate from them, as none of the film’s retrospective interviews, candid and thoughtful as they are, prove as gripping as the raw video of Nasubi’s ordeal.
  27. Ghostbusters: Frozen Empire
    This franchise might not be entirely dead just yet, but its latest resurrection doesn’t make nearly enough good arguments to keep pumping life into it.
  28. The Idea of You
    By the end of this adaptation, we get the full picture of this romance and the two people involved.
  29. The Greatest Hits
    Benson, who also wrote the film’s screenplay, knows his way around heartbreak, and despite the elevated nature of the story — she time travels, for chrissakes — always finds room to add genuinely relatable elements to Harriet’s incredible plight.
  30. Timestalker
    Lowe finds ways to make it all feel if not wholly original, at least quite fresh. You’ve heard this story before, but you’ve never seen it quite like this.
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