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For 5,167 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% 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: 3,568 out of 5167
  2. Mixed: 1,333 out of 5167
  3. Negative: 266 out of 5167
5167 movie reviews
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  1. 365 Days: This Day
    No, most audiences who tune into 365 Days: This Day are likely not seeking out female empowerment tales or coherent plots, but the disdain with which the film treats both its viewers and its star can’t help but grate.
  2. The Mystery of Marilyn Monroe: The Unheard Tapes
    Cooper’s film does no independent research of its own, and therefore can’t possibly offer any tidbits that weren’t first reported in the pages of “Goddess.”
  3. Downton Abbey: A New Era
    "A New Era” doesn’t feel like a cash-grab, but a true continuation. Lush settings, well-appointed sets, and an eye-popping wardrobe only add to the magic, and good luck not happily sinking into two hours of confectionary entertainment. (The endless jokes about the film industry somehow only add to the zip of it all.)
  4. Stay Awake
    It’s an earnest look at the collateral damage surrounding addiction, and the movie is at its strongest when it homes in on the experiences of Ethan and Derek. But as the main characters of the movie learn, compassion alone isn’t always enough.
  5. Pompo the Cinephile
    Ludicrous and dramatically unsatisfying as Pompo the Cinephile might be, its kid-friendly portrait of life on a movie set captures the same electric crackle that make far better films like “Day for Night” and “Irma Vep” such irresistible ads for joining the circus.
  6. Sexual Drive
    Anyone expecting a three-course meal as rich and nuanced as Ryusuke Hamaguchi’s “Wheel of Fortune and Fantasy” (or even a single dish as sumptuous as Juzo Itami’s “Tampopo”) might find themselves disappointed by a quick and dirty film that only aspires to offer the satisfaction of a light dessert, but Yoshida’s giddy fetishism makes for its own simple fun.
  7. Stanleyville
    If Stanleyville initially assumes the posture of an Off-Off-Broadway adaptation of “Dogtooth” — one happy to revel in half-baked ideas and hand-me-down humor — its commitment to entropy randomness gradually coheres into an identity of its own.
  8. Choose or Die
    Choose or Die is a perfect entry point into genre for younger viewers, one that will also satisfy old school diehards even as it takes some pointed (perhaps deserved?) jabs at them.
  9. White Hot: The Rise & Fall of Abercrombie & Fitch
    Cathartic and outrageous as it can be to hear the juicy — but wildly unsurprising — details of how Abercrombie operated behind the scenes, Klayman’s film doesn’t ground them in any greater sociopolitical context.
  10. Metal Lords
    Metal Lords may never find the rhythm a movie like this needs in order to stay in the sweet spot between goofy and charming, but there’s a stubborn kernel of truth to how casually its young characters learn to hear themselves by listening to Judas Priest.
  11. Father Stu
    As a critic who’s professionally obligated to reckon with the latest trends in Christian cinema, I have to admit that Wahlberg’s R-rated conception of godly entertainment seems almost divine when compared to the culture war militance of “God’s Not Dead” or the Sunday school hokeyness of “I Still Believe.”
  12. The Northman
    It’s not like this movie is a punishing chore; it’s not like Eggers doesn’t want multiplex audiences to like it. And they will. Because this is the kind of filmmaking that rips you out of your body so hard that you’re liable to forget what year it is.
  13. Aline
    Surprisingly funny, well-acted, and a little offbeat, Aline is as delightfully kooky as its monumental subject.
  14. Return to Space
    The film’s scattershot focus — in stark contrast to the breathless immediacy of “The Rescue” — and advertorial tone diminish the sheer thrill of watching the company land an orbital class rocket for the first time.
  15. All the Old Knives
    Come for the espionage thrills, stay for the wrenching dissection of what it means to really love someone. That’s what really cuts deep.
  16. Night's End
    With a little sleight of hand and a well-executed metaphor, horror can encompass both the fun and the artifice of filmmaking. Night’s End may not be perfect, but it’s perfectly flawed.
  17. Fantastic Beasts: The Secrets of Dumbledore
    The series’ third outing, Fantastic Beasts: The Secrets of Dumbledore, falls into precisely the same traps as its predecessor, offering up an unwieldy, mostly unsettling mash-up of adult themes and childish whimsy, made still more inscrutable by too many subplots, too many characters, and a tone that veers wildly off-course at every possible turn.
  18. Sonic the Hedgehog 2
    It’s visual soup where nothing pops or stands out. Almost nothing anyone does or says feels rooted in recognizable character traits, and despite Marsden’s most sincere efforts, he finds himself once again unable to meet Sonic’s eye-line (a production kerfuffle that would be funny, were it not also another reminder of VFX crunch).
    • 57 Metascore
    • 50 Critic Score
    Barbarians
    Nothing about this moodily lit, dinner-party-from-hell film can compete with the real-life drama that unfolded in the middle of the Academy Awards. Or with any other home invasion thriller, for that matter.
  20. The Bubble
    Apatow gets a lot of shit for making scattershot comedies that run the length of David Lean epics, but the patchwork of scenes that comprise his latest have less in common with “Funny People” than they do “Movie 43,” and might just be aimless enough to make the director’s critics appreciate the flow of his earlier work.
  21. Moonshot
    At heart, it’s a story you’ve seen countless times before — often told on a much larger scale. And yet it’s amazing how far you can go on the strength of some evocative production design, a few clever dashes of sci-fi world-building, and a goofy script that isn’t afraid to err closer to “Pillow Talk” than to “Before Sunrise.”
  22. Morbius
    The film occupies a strange no-mans-land of the sprawling Spider-Verse, not charming like the "Spider-Man" films, not funny like the "Venom" films, and certainly not technically impressive like the animated "Into the Spider-Verse."
  23. Nitram
    In the end, Jones’ performance is even more lifelike than I feared — a tortured and astonishingly nuanced rendering of a childlike creature whose id could only be tempered by love for so long before it chose violence instead. And it should go without saying that Kurzel’s fatalistic storytelling so pungently exhumes the pain that led up to that awful day in April 1996 that you can smell the death coming several hours in advance.
  24. Zero F*cks Given
    Zero Fucks Given is refreshingly unwilling to be prescriptive or teach Cassandre any moral lessons, but it often struggles to crystallize how she finds the strength to seize control over her own flightplan.
  25. RRR
    S.S. Rajamouli’s RRR is a dazzling work of historical fiction — emphasis on the “fiction” — that makes the moving image feel intimate and enormous all at once.
  26. 7 Days
    7 Days is a film about a lot of things — matchmaking, familial expectations, being your best self, opening your heart — but it’s also about a strange, horrible time in all of our lives and how it changed us. In the minimum of time, Sethi and his cast give that a truly honest go.
  27. Infinite Storm
    Despite the refreshingly experiential flavor of Szumowska’s approach, her film is handcuffed by the facts of its true story, and Pam remains at such a pronounced emotional remove that it sometimes feels as if she’s only hiking up that mountain because the facts of the matter demand that she must.
  28. All My Friends Hate Me
    Inspired by a rush of paranoia that Stourton once experienced at a wedding where he felt unwelcome, All My Friends Hate Me effectively splits the difference between Ruben Östlund and Ben Wheatley as it pinballs between squirmy laughs and sly horrors.
  29. Ambulance
    Bay’s latest reeks of falsehood veiled as righteousness.
  30. Under the Influence
    For many of the extremely online people born after the year 2000, “Under the Influence” offers a closer look at the cultural history that’s already close to their hearts, less valuable for Neistat’s insight than for his access ... For the rest of us ... this film provides a bone-chilling biopsy of the malignant narcissism that’s quietly metastasized across Gen Z’s celebrity-industrial complex, more valuable for Neistat’s perspective than for any of his characters.
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