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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. Holler
    While the broad strokes of Riegel’s story might sound familiar, Holler finds its power in the particularities, especially Barden’s unfussy and wholly believable performance.
  2. The Hitman's Wife's Bodyguard
    Terrible green screen, globs of digital blood, and record-scratch sound effects in place of actual jokes are only potholes along the road for a summer movie that knows what it is, and is slightly less afraid to embrace that than its previous iteration was.
  3. Asia
    Pribar’s subtle movie eschews sentimentalism for a patient and inquisitive character study, mining familiar territory and rejuvenating it with emotional impact that worms its way into the material from unexpected places.
  4. The Real Thing
    There’s no selling out here. No concessions to mainstream taste. On the contrary, The Real Thing might be the purest — if not the most concise — work yet from an emerging auteur who’s singularly compelled by the friction between public order and private chaos.
  5. Changing the Game
    Changing the Game goes beyond those dehumanizing headlines to show the real people affected by harmful anti-trans policies or lack of any meaningful legal protection.
  6. Caveat
    Caveat exists in a liminal space between genres, which is fitting for a film about the skeletons that might hide inside the walls of an old house. However, Mc Carthy’s mix-and-match approach reveals the story’s need for a more solid foundation.
  7. Earwig and the Witch
    While Earwig and the Witch is far from the ugliest film of its kind, there’s something uniquely perverse about seeing Ghibli’s signature aesthetic suffocated inside a plastic coffin and sapped of its brilliant soul; about seeing the studio’s lush green worlds replaced by lifeless backdrops, and its hyper-expressive character designs swapped out for cheap dolls so devoid of human emotion that even the little kids look Botoxed with an inch of their lives.
  8. The Conjuring: The Devil Made Me Do It
    The scariest thing about The Devil Made Me Do It is the possibility that it will set the stage for more of this, and less of what made the franchise so compelling in the first place.
  9. American Traitor: The Trial of Axis Sally
    Pacino has made a lot of movies that feel like glorified tax shelters, but this is the first that appears to have actually been shot in one.
  10. Ghost Lab
    The volatile friction between the movie’s wildly conflicting energies works as a curious backstop for this cautionary tale about not giving into grief and despair. No matter how grim things get (in life or in Ghost Lab), you never really know for sure what’s going to happen next.
  11. Spirit Untamed
    Fans of the original film will still find something beautiful underneath, and “Riding Free” acolytes will likely delight in seeing a splashier take on a story they already love. Everyone else, however, might wonder when they can hope to be set free from this story, just like Spirit.
  12. Moby Doc
    An insufferable movie that wants to be profound and benign in equal measure.
  13. Plan B
    Plan B mixes real humor with some uncomfortable truths about the current state of sexual healthcare in America, though it doesn’t hammer its realities home quite as hard as its predecessors.
  14. Cruella
    Cruella is lousy with incredible costumes (from Oscar-winner Jenny Beavan, who should absolutely be back in the awards mix with this one) and needle drops that run the gamut between hilarious and too-on-the-nose, a riot of sound and color and delight that partially obscures the darkness at the film’s heart.
  15. The Dry
    The result is a raw but straightforward detective yarn that feels nagged by the past rather than bedeviled by it, when even a pinch of the spectral uncertainty that Peter Weir found down the road in “Picnic at Hanging Rock” would have made it easier to appreciate why Aaron’s childhood wounds still feel so fresh.
  16. Playing with Sharks
    Setting the Taylors’ footage in such a quotidian structure is like setting the world’s most beautiful diamond in a ring pulled from a Cracker Jack box
  17. In the Heights
    So exuberant and full of life that it would probably convince you the movies were back even if they hadn’t gone anywhere, In the Heights is the kind of electrifying theatrical experience that people have been waxing nostalgic about ever since the pandemic began — the kind that it almost seemed like we might never get to enjoy again.
  18. Seance
    Seance doesn’t just grow more mysterious, gory, and spiky as it goes on, it also grows more convoluted. Yes, many things can be true at once, but “Seance” might benefit from being pared to a more streamlined story.
  19. North Hollywood
    Half-sketched as its drama can be, Alfred’s feature-length fiction debut is sustained by a complete lack of poser energy and a few new tweaks on some classic tricks; come for Vince Vaughn downshifting into his indie dad phase, stay for the woozy retro vibe that evokes a timeless sense of starry-eyed youth by layering mid-century Doo-wop from the likes of Arthur Lee Maye and The Chiffons over modern skate footage.
  20. The Retreat
    There’s something much bigger afoot, something truly subversive and new, but The Retreat resists digging into that, instead leaning on its (admittedly, badass) leading ladies and their inspiring ability to kick butt. We love to see it, but we’d really love to see more.
  21. Dream Horse
    Dream Horse hits its stride off the track, where the paint-by-numbers drama of winning and losing takes a backseat to a more nuanced tale about the need to get back in the race.
  22. Spring Blossom
    When Lindon isn’t at the mercy of her but-I’m-a-teenager ruse, Spring Blossom and its filmmaker get a chance to show off some real creative sparks, including a trio of musical numbers that offer cinematic style and emotional flair.
  23. A Quiet Place Part II
    As his chops as an action and horror director have only increased, care of those natty set pieces and plenty of real ingenuity, Krasinski hasn’t lost sight of the human drama that makes it all work. Krasinski never meant to be a horror guy, but he’s always known what scares people.
  24. F9: The Fast Saga
    This is a movie that sling-shots so far past self-parody that it loops all the way back to something real.
  25. Riders of Justice
    What starts as the knotted stuff of violent coincidence soon unravels into something more bittersweet, as Mads Mikkelsen’s first movie after Oscar winner “Another Round” restitches itself into another giddy and unexpectedly poignant modern fable about the search for meaning in a world where everything happens by chance, but nothing is a coincidence.
  26. The Woman in the Window
    It’s the cinematic equivalent of a window not worth opening. Pull the drapes closed, it’s curtains for this one.
  27. The Killing of Two Lovers
    The Killing of Two Lovers moves at such an involving pace that it’s easy to get lost in the tension of the moment and forget we’ve seen countless iterations of this scenario before.
  28. Finding You
    It’s not just a film that feels crafted by Mad Libs, but possibly by a middling A.I. with a soft spot for both “Notting Hill” and cinematic artifice that mistakes contrivances for drama and evolution.
  29. Those Who Wish Me Dead
    Those Who Wish Me Dead might be missing the extra gear required to make it as much of a touchstone for contemporary audiences as the likes of “Executive Decision” or “The River Wild” are for anyone who was saw them in the ‘90s, but watching this kind of film claw its way onto screens at a time when it seems so outmoded is enough to make you happy that it hasn’t been completely killed off yet.
  30. Spiral: From the Book of Saw
    Less of a soft reboot than an emergency root canal for a series at risk of being removed from the release slate forever, this dogeared new chapter “from the Book of Saw” might lack the discipline to escape from the same traps that have always shackled its franchise to the grindhouse floor, but it still manages to squeeze a few drops of fresh milk out of Lionsgate’s oldest surviving cash cow with a back to basics approach and some unexpected political bite.
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