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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. The Hunt
    Combining the droll self-satisfaction of a New Yorker cartoon with the wet gore of an Eli Roth movie, Zobel’s tense, well-crafted, and deviant grindhouse take on the national temperature has no trouble caricaturing what ails us, but even that fun combo lacks the killer instinct required to see us more clearly than we see each other.
  2. Spenser Confidential
    A junky, paint-by-numbers crime saga that stacks up to The Town like Cats does to Singin’ in the Rain. It pains a lifelong New Yorker to say this, but Boston deserves better.
  3. The Burnt Orange Heresy
    Borrowing from a dozen better movies as it tries to blur the line between a forgery and a masterpiece, Capotondi’s film manages to undercut its thesis with each new stroke.
  4. The Banker
    Apple's first narrative film is a breezy historical biopic that plays like BlackKklansman for math nerds, but it's too stodgy to add up.
  5. The Way Back
    Winning and losing are relative terms, but this is the first time in forever that Affleck feels like he’s got skin in the game.
  6. There Is No Evil
    The movie provokes the wonder and terror of what it means to live in a world where every resolution brings new questions, and the prospects that a happy ending might carry the greatest risk of all.
  7. The Salt of Tears
    While The Salt of Tears threatens to devolve into a sympathetic male gaze with each new turn, Garrel actually manages to burrow within those boundaries and deconstruct their flaws from the inside out.
  8. Straight Up
    Straight Up is meticulous in building its hyper-stylized aesthetic, but doesn’t have much to say about the human condition.
  9. The Roads Not Taken
    As dour in practice as it is bright-eyed in principle, Potter’s film makes an earnest but enervating attempt to erase mental boundaries.
  10. Siberia
    For all of Ferrara’s reckless abandon — and Dafoe’s unimpeachable commitment to artistic exploration — Siberia becomes increasingly unable to instigate our own journeys of the soul; seldom has the collective unconscious felt so inaccessible.
  11. Undine
    Petzold remains a master of capturing frantic characters doomed by dark obsessions, and while Undine is certainly a minor work, it still shows evidence of a master’s hand.
  12. Saint Frances
    O’Sullivan (who makes her feature screenwriting debut while also leading the film, appearing in every scene), is a real find, the kind of “voice of a generation” talent who spends less time talking about her genius insight and more time simply delivering on it.
  13. The Woman Who Ran
    The movie has a loose, almost amateurish quality to its production that suggests another rush job from a filmmaker unwilling or unable to slow down. But the movie reveals its deeper layers with time, congealing into a perceptive and often charming bite-sized study of smart women contending with a series of annoying men.
  14. Charlatan
    Charlatan becomes entangled in its conflicting mesh of traits and time periods, but the film is only able to become more than the sum of its frustrating parts because it embraces those complications in the first place.
  15. My Little Sister
    My Little Sister regains its footing in its final scenes, eschewing the expected for the raw emotion of real life.
  16. Minamata
    Here and there, Minamata tells a bracing story of corporate malfeasance and bracing advocacy for the underclass, but even the occasional poignant observation can’t salvage a movie trying this hard to tug every heartstring at its disposal.
  17. Minyan
    In Minyan, the arresting and evocative feature film debut from documentary filmmaker Eric Steel, the search for answers turns up far more riches than any half-baked conclusion ever could.
  18. Last and First Men
    Guided by Jóhannsson’s ethereal score, this dazzling apocalyptic immersion blends cosmic 16mm black-and-white images of Yugoslavian architecture with a deadpan Tilda Swinton voiceover, resulting in a profound lyrical rumination on the end of days.
  19. Kill It and Leave This Town
    Kill It and Leave This Town is almost oppressively personal at times. Hideously seductive as it can be, the movie is so isolated inside the contours of Wilczyński’s mind that it’s hard to imagine what audience might exist for it. Then again, what beauty is there in this world that isn’t alive in our heads — if nowhere else — and trying to escape?
  20. The Intruder
    While the rules of her conundrum never quite coalesce and some of the twists feel shoehorned, The Intruder generates so much intrigue to maintain a breathless pace and unsettling atmosphere at every turn, with Rives’ layered performance fusing the strange trip together.
  21. DAU. Natasha
    DAU. Natasha is haunting and effective, but not always the sum of its parts, and sometimes has a tendency to drag. Even so, the spell lingers long after the credits roll, and the opportunity to consider the many sides of DAU. Natasha is a unique intellectual exercise.
  22. The Jesus Rolls
    The freewheeling Jonathan Demme energy only grows more infectious as the film drifts along, Émilie Simon’s buoyant flamenco score finds the zest in each scene, and the lightly fantastical “none of this matters” attitude feels like manna from heaven in an age of interconnected cinematic universes
  23. Funny Face
    As with all of the director’s previous work, Funny Face is electric and moribund in equal measure, the simplicity of its story obscured by the opacity of its telling. The film is so unformed that it feels like its shots might disassociate from each other at any moment, but also so unsubtle that its script could’ve been sky-written over Brooklyn.
  24. My Salinger Year
    My Salinger Year often trips on the self-serious nature of its premise, and struggles with an antiquated quality out of sync with its timeline, as if trapped between the character’s genuine experiences and her idealized vision of a literary world that doesn’t really exist.
  25. The Invisible Man
    "Saw" writer Leigh Whannell mixes metaphors in this limp remake, using gaslighting and privacy fears for his uneven sci-fi horror.
  26. Brahms: The Boy II
    There aren’t that many minutes to mess up, but the film manages to make it feel much longer. At just 86 minutes, Brahms: The Boy II should fly by, but the film lurches forward with its momentum punctuated by bad jump scares and odd flashback sequences.
  27. Onward
    Onward doesn’t reinvent the wheel, but spins it so well that it conjures a spell of its own as a new decade dawns with the Pixar touch intact.
  28. Premature
    The film’s most telling scene unfortunately marks a steep divide between the fine-tuned first half and a back end that threatens to crumble into cliche.
    • 75 Metascore
    • 67 Critic Score
    The State Against Mandela and the Others
    Audiences may find the filmmakers’ approach more compelling than the film itself.
  30. The Call of the Wild
    The 2020 Call of the Wild isn’t all-out atrocity so much as a question mark, a formulaic adventure story spruced up with cutting-edge technology in search of a purpose.
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