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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. Origin
    DuVernay’s film is unable to fuse melodrama and academia into a single narrative, even with such rich source material and as fascinating a subject as Isabel Wilkerson. The only possible conclusion it invites is every film critic’s least favorite sentence: Just read the book.
  2. The Nun II
    If The Conjuring Universe is a horror force you want to believe in again, then The Nun II will bring you back to the faith.
  3. Rotting in the Sun
    You almost wish there was a little more magic, but that’s maybe because some of the truths Silva comes up close to are so skin-crawlingly real that you want to cover them up.
  4. DogMan
    While this film probably needed more time in the storytelling doghouse, Landry Jones’ performance is a lovely watch.
  5. Evil Does Not Exist
    Evil Does Not Exist is a slow-moving film with few epiphanies and no answers to the questions it posits.
  6. Rustin
    We can appreciate the righteous good of putting something like “Rustin” into the world at the same time as we lament how sorely the film lacks its namesake’s inspirational flair for defying convention.
  7. The Bikeriders
    The singular vibration that Nichols brings to the golden age of motorcycles gives way to the all-too-familiar entropy that ended it, as a movie that busts out of the gate as some kind of new American classic ultimately runs out of gas on the side of the highway.
  8. Hit Man
    Powell and Arjona have fizzy chemistry with each other, which isn’t much of a shock for two people who could probably get a spark going with a paper bag during a rainstorm, but it’s fun to watch both of their characters throw themselves into their new lives.
  9. The Beast
    The film’s true power stems from and speaks to our specifically present condition as people beset on all sides by the fears of our own imagination. By the trauma of something that already happened, or the terror of something that might.
  10. AGGRO DR1FT
    I was bored or exasperated by almost every minute of “Aggro Dr1ft,” but there are only 80 of them, and not a single second of this AI-inflected nightmare experiment feels insincere.
  11. Priscilla
    Priscilla may not be one of the better movies that Coppola has ever made . . . but it stands apart from the rest of her work as the uniquely sensitive and self-honest portrait of a girl who starts to realize that she may have outgrown her greatest fantasy.
  12. The Holdovers
    The vibes are immaculate from the start and only grow more so as the characters gradually start to become as detailed as the world that “The Holdovers” constructs around them.
  13. The Killer
    The Killer is nothing if not committed to its own one-note bit, an existential nihilism that stays the same even as the protagonist, in a mostly silent Michael Fassbender performance, starts to change. It’s as unfeeling as any Fincher thriller, at once predictable in its simplicity but also strangely daring because of it.
  14. Saltburn
    Another smirking and vaguely satirical psycho-thriller that wants to have its cake, eat it too, and then soil the plate for good measure, Fennell’s immaculately crafted follow-up to “Promising Young Woman” might have a lot more fun pushing your buttons if it had any clue how to get under your skin.
  15. Maestro
    As a study of how the Bernsteins’ near-three-decade marriage endured Lenny’s gayness and genius, Maestro succeeds off the chemistry between Mulligan and Cooper, but the film often looks and feels too fussed-over, almost too precisely manicured, to ever erase its own parameters as a linear biopic.
  16. Poor Things
    Poor Things is the best film of Lanthimos’ career and already feels like an instant classic, mordantly funny, whimsical and wacky, unprecious and unpretentious, filled with so much to adore that to try and parse it all here feels like a pitiful response to the film’s ambitions.
  17. All of Us Strangers
    Haigh tells this potentially maudlin story with such a light touch that even its biggest reveals hit like a velvet hammer, and his screenplay so movingly echoes Adam’s yearning to be known — across time and space — that the film always feels rooted in his emotional present, even as it pings back and forth between dimensions.
  18. The Wonderful Story of Henry Sugar
    While The Wonderful Story of Henry Sugar may be, in some respects, the most literal Dahl adaptation you could possibly imagine, the true author of this project is never in doubt.
  19. Ferrari
    Ferrari is more gritty than glossy even at its most tightly coiled, with Mann’s searching camera never quite fixed in one place.
  20. El Conde
    El Conde isn’t big on subtlety (Lachman’s rich cinematography offers the film its only shades of gray), and so it feels like a missed opportunity that Larraín didn’t squeeze more juice from the all-too-relevant fact that deposing a fascist from power isn’t the same as defeating them.
  21. The Equalizer 3
    If this is the end of The Equalizer, it’s a good one, a high note that overcomes confusion, complications, and convolutions to give everyone — Robert, Emma, kind-hearted Italians, the audience — a lavish adventure to remember.
  22. You Are So Not Invited to My Bat Mitzvah!
    The ’80s-esque sensibilities and sweet quips, rivaled only by fellow Netflix film “To All the Boys I’ve Loved,” make “YASNITMBM” an easily watchable treat for the entire family. Cohen, who previously directed the Hulu feature “Crush,” and once again proves her bonafides when it comes to translating the pains and pleasures of coming of age to the screen.
  23. Our Father, the Devil
    The film ultimately becomes a haunting portrait of just how broken we all are — whether it’s the result of our parents’ shortcomings or Eve biting the apple is beside the point.
  24. birth/rebirth
    A horror movie — even one as grounded and genre-adjacent as this — can’t hope to survive if it doesn’t even feel believable on its own fantastical terms.
  25. Strays
    The film also boasts unexpectedly great voice acting; it’s not an exaggeration to say that Oscar winner Foxx thrives as the voice of Bug.
  26. Blue Beetle
    The Reyes family is a fun group, and “Blue Beetle” is at its best whenever it lets them lead the way.
  27. Jules
    Sometimes, this peculiarly amusing film argues in its own special way, coming face-to-face with the weirdness that life throws your way can be the most important step towards learning how to live with it.
  28. Aporia
    The film’s script doesn’t have the emotional complexity to bolster emotion toward Sophie and Malcolm and their tangled predicament.
  29. Between Two Worlds
    Binoche gives a predictably excellent performance, embodying Marianne with just the right amount of elite obliviousness without ever turning her into a caricature. It’s touching to see her become more empathetic as the story progresses, even if eventually snapping back to her old ways was the only possible outcome.
    • 62 Metascore
    • 75 Critic Score
    Red White & Royal Blue
    Red, White, & Royal Blue is a hopeful, fresh twist on a genre that should charm both fans of the book as well as anyone who enjoys a frothy love tale.
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