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For 5,164 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: 3,565 out of 5164
  2. Mixed: 1,333 out of 5164
  3. Negative: 266 out of 5164
5164 movie reviews
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  1. Spiderhead
    For a movie so preoccupied with the choices that people can make, Spiderhead invariably makes the least interesting ones available to it, which is a serious problem for a movie streaming on a platform whose subscribers are never far removed from the choice to be watching something else instead.
  2. Halftime
    Micheli’s film is less than artful, scattered with limited talking heads (mostly Lopez’s business partners and her mother, briefly), random flashbacks, occasional archival footage, and a series of short sequences that could frame their own films (particularly quick-cut segments about Lopez’s early years, her treatment by the press, the obsession with her body, the constant tabloid attention), but none of that is the draw: it’s Lopez.
  3. Jurassic World Dominion
    With little tension or humor to speak of, there’s nothing keeping Jurassic World: Dominion afloat, beyond the naïve hope that recognizing the familiar will be enough for some viewers. Maybe it will be, but it’s proof positive that we’re in one of the dullest, most artless periods of Hollywood blockbusters yet — “Top Gun: Maverick” notwithstanding — and we could be stuck here for some time.
  4. The Phantom of the Open
    It’s enough that this heartfelt delight makes par on its premise; there’s a birdie here and a bogey there, but director Craig Roberts (“Eternal Beauty”) keeps a firm grip on the film’s whimsical tone from start to finish, the former “Red Oaks” star finding a way to have fun with his shots without risking his straightforward approach to the pin.
  5. Hustle
    Hustle may not be the greatest redemption story ever told about second chances, third careers, and the hard work of triumphing over your worst tendencies, but the film holds fast enough to the courage of its convictions to feel like it’s got skin in the game.
  6. Fire Island
    Grounding the lightness and frivolity with real heart, Booster’s laugh out loud script and Ahn’s artistic corralling of the energetic ensemble is a match made in heaven — or gay paradise.
  7. Hollywood Stargirl
    Hollywood Stargirl, for all its charm, doesn’t quite hang together as a complete story. It feels like an episode, a vignette, a tiny slice of Stargirl’s remarkable life suddenly turned into a filmmaking parable she’d likely balk at.
  8. Tori and Lokita
    Fringed with an even greater degree of futility than any of the duo’s previous work, Tori and Lokita doesn’t harbor any delusions that shining a harsh light on such awful stories will ever be enough to make the world a better place, and yet — in the least uncertain terms imaginable — it leaves us with an indelible glimpse into the darkness that surrounds them.
  9. War Pony
    Despite the apparent care and respect that went into Keough and Gammell’s film, “War Pony” also makes clear how very far there is still left to go when telling “authentic” stories.
  10. God's Creatures
    This is Aileen’s story and when “God’s Creatures” makes the odd choice to turn away from her just as things are reaching a fever pitch, it dilutes the power of both her performance and the film itself. She’s gone mad, but God’s Creatures isn’t willing to follow her there, perhaps the craziest choice of all.
  11. Jerry Lee Lewis: Trouble in Mind
    “Jerry Lee Lewis: Trouble in Mind” is an amiable and easy watch that doesn’t explore too many of the singer’s more unseemly aspects and, by design, cannot.
  12. Sick of Myself
    Death rarely fades from view in Borgli’s increasingly bleak comedy, which does somewhat of a disservice to the narrative trajectory — not because it flirts with oblivion but because its path is so stratospheric and dogged in the direction it’s going that it can be pretty hard to hold on for your life and not get left behind.
  13. More Than Ever
    With trademark stoicism and inscrutable poise, Krieps gives a performance that never tries to extract easy pity from the viewer or reach for low-hanging fruit.
  14. The Five Devils
    Some viewers may be frustrated by the opaque way all threads are resolved. To the end, Mysius retains the sense of her film being a glistening and mysterious object, you can watch but can’t touch. Yet this intact mystery flows from themes too vast to ever be rendered fully transparent: young girls are prescient and love is fate.
  15. Showing Up
    As with Lizzy’s sculptures, which go into the kiln all mottled and damp but come out glistening with new layers of color, Showing Up is transformed by its finishing touches.
  16. Close
    Beautiful as Dhont’s eye for detail can be, and vital as his willingness to explore the unbearably tender pockets of adolescence often proves here, Close still finds its sensitive — if sometimes borderline sadistic — young filmmaker defaulting to universal pain whenever he fears that more personal feelings may be too poignantly ethereal to see on camera.
  17. Broker
    It’s one of the master’s most transparent and — when it comes to confrontations about what parents, and specifically women, can or should do for themselves and for the babies they are forever bound to — brave films of his career.
  18. Hunt
    An energetic yet hopelessly convoluted espionage thriller that doesn’t tell a story so much as it chronically bumps into one. ... Lee’s debut is little more than a chattering Pez dispenser full of plot twists.
  19. Forever Young
    An autobiographical portrait that somehow leaves you knowing less about the subject at hand, and a study of actors, warts and all, that offers little insight into the artistic process.
  20. Nostalgia
    As the two men circle each other in the film’s second half, it shifts from contemplative drama to full-blown suspenseful thriller. It is in the latter mode that Mantone shines best as a filmmaker and Pierfrancesco Favino does as an actor.
  21. Holy Spider
    If the first half of the film shies away from the cheap thrills of its serial killer story, the pointed banality of its final chapters proves as horrifying this genre ever gets.
  22. Stars at Noon
    Denis, Andrew Litvack, and Léa Mysius’ dialogue is only strengthened by its occasional awkwardness, as it subsumes Trish and Daniel into the same disordered humidity that swamps the film around them. The frequent sex scenes become a dialogue of their own — the lovers feeling each other out in search of something they can actually trust.
  23. EO
    In Bresson’s version, it’s the humans around the donkey who are the true center of the story. Not so in EO. This is Donkeyvision, and we’re better off for it.
  24. Elvis
    It’s hard to find even ironic enjoyment in something this high on its own supply; something much less interested in how its namesake broke the rules than it is in how its director does, and something tirelessly incapable of finding any meaningful overlap between the two.
  25. Enys Men
    As much as Jenkin’s film is hypnotic and strikingly realized, in the final half hour it runs out of tricks up its sleeve.
  26. Cairo Conspiracy
    Boy From Heaven wants to offer up a character study of a young Muslim man who ends up in hell and keeps going. Sadly, a deep and meaningful portrait of Adam is forgotten as the film — like the state officials it depicts — prioritizes functionality above all else.
  27. The Eight Mountains
    The Eight Mountains lovingly adapts Paolo Cognetti’s novel of the same name, a valentine to brotherhood and a shape-shifting tale of self-discovery, resilience, nature and love — platonic but more steely than any rock you could climb – that somehow rarely feels like it treads a single step of the endless stream of movies and literature capturing the ever-evolving yet enduring nature of all of those just mentioned things since time immemorial.
  28. Decision to Leave
    Park’s funny, playful, and increasingly poignant crime thriller is less interested in what Hae-joon (Park Hae-il) knows about his suspect than in how he feels about her
  29. Moonage Daydream
    More sensory experience than straightforward recounting, the documentary by Brett Morgen (“Kurt Cobain: Montage of Heck”) is about feeling your way through a chaotic world with Ziggy Stardust as your anchor.
  30. Crimes of the Future
    Crimes of the Future is Cronenberg to the core, complete with its fair share of authorial flourishes (the moaning organic bed that its characters sleep in is a five-alarm nightmare unto itself) and slogans (“surgery is the new sex”). At the same time, however, this hazy and weirdly hopeful meditation on the macro-relationship between organic life and synthetic matter ties into his more wholly satisfying gross-out classics because of how it pushes beyond them.
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