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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. Always Be My Maybe
    Khan’s film pulls liberally from the genre playbook — stars and co-writers Ali Wong and Randall Park haven’t been shy about the film’s early inspirations, especially classics like “When Harry Met Sally” — but it also offers its own charms, thanks to Wong and Park, who delight both on-screen and on the page.
  2. Mike Wallace Is Here
    This is an important and compulsively watchable portrait made by someone who understands the brute power of broadcast media and the people who make it for all the world to see, but it can only afford Mike Wallace with a little moment of truth, and the satisfaction of playing his part in the greater continuum of things.
  3. Domino
    The most damning thing about Domino is that it reaffirms what all but the filmmaker’s most deluded fetishists have long since concluded: The world has caught up with Brian De Palma — his fascination with voyeurism and violence have been sublimated into the stuff of everyday life — and the guy is basically just circling the drain.
  4. Ma
    The suspense builds creepily enough, with a classic fake-out in a strong first act. But when the movie turns into full-blown horror, which it eventually sort of does, the pacing of the violence is all out of whack.
  5. Pavarotti
    Pavarotti, much like its subject, is fun and full of life for as long as it lasts, but as soon as it’s over you realize how little of it you got to see. Howard’s doc offers a crystal clear record of how Pavarotti brought opera to the world, but it leaves us guessing at what he might have left behind.
  6. Godzilla: King of the Monsters
    Godzilla’s interest in saving humanity never made much sense, but it’s this CGI creation with no dialogue that gives the film the continuity and character it lacks elsewhere. When Godzilla lights up his nuke-powered tail and lets loose his interminable scream, for just a moment, the MonsterVerse has something to offer.
  7. Oh Mercy!
    Forestier and Seydoux are both fantastically desperate as dead end citizens who met each other at a very dangerous time in their lives, but Desplechin fails to make full use of his actors; instead of allowing them to shade in their characters, he pummels the audience into an ambiguous state of forced sympathy.
  8. It Must Be Heaven
    This poignant, minor-key work from the only major filmmaker to carry the torch of silent comedy into the 21st century is rich with feeling, even as it enters a self-reflexive zone that sometimes distracts from the legitimate concerns at its core.
  9. Tommaso
    Of course, it wouldn’t be a Ferrara movie without some jagged edges. “Tommaso” manages to feel rough and risky while somehow sensitive at the same time, like the best of them.
  10. Lux Æterna
    As a minor work, it provides an enjoyable snippet of rambunctious formalism that puts Noé in a category of his own.
  11. The Traitor
    Once The Traitor earns its title, the movie is overwhelmed by legal intrigue and mafia infighting, and flattened into a repetitive and somewhat impenetrable courtroom drama.
  12. Zombi Child
    If Zombi Child gets snared in a web of symbols and ideas that it never fully manages to weaponize in its favor...it still provides a bold and compelling bridge between the living and the dead.
  13. Mektoub, My Love: Intermezzo
    No filmmaker has ever loved anything as much as Abdellatif Kechiche loves butts.
  14. Matthias & Maxime
    None of this movie feels amateurish or unmotivated, but virtually everything on the periphery of its main plot manages to detract from what’s going on between Matthias and Maxime.
  15. Frankie
    It drifts by with all the force of a mild summer breeze, and — as is typical of Sachs’ jewel-like work — it leaves you feeling like you could have spent another 90 minutes with these characters. For better or worse, this one also leaves you feeling like Sachs could have spent another 90 minutes with these characters, too.
  16. Parasite
    [A] furious and fiendishly well-crafted new film. ... Giddy one moment, unbearably tense the next, and always so entertaining and fine-tuned that you don’t even notice when it’s changing gears, “Parasite” takes all of the beats you expect to find in a Bong film and shrinks them down with clockwork precision.
  17. The Proposal
    The film is itself a provocation; a fascinating document of a years-long conceptual project as well as the final (or next) piece of the complicated puzzle.
  18. Running with Beto
    Viewed on its own terms, Running With Beto consolidates the feel-good trajectory of O’Rourke’s run into an engaging package that showcases his galvanizing impact up close.
  19. The Secret Life of Pets 2
    The sequel remains charming, beautifully animated, and often incredibly funny, but there’s a sense that writer Brian Lynch realized Max’s story needed a lot more padding this time around.
  20. Family Romance, LLC
    While the movie’s rough production values and meandering plot never quite gel, Family Romance, LLC is a fascinating convergence of filmmaker and subject, providing the rare opportunity for Herzog to bury his observations in the material at hand.
  21. Brightburn
    The film’s bent towards revisionist superhero history is certainly compelling, but stuck in the confines of the horror genre, it flames out far more than it flies.
  22. Aladdin
    Smith puts on such an outsized performance that it’s easy for him to overshadow its smaller joys — and when Genie is suddenly silenced in a limp third act, the entire film suffers.
  23. Once Upon a Time ... in Hollywood
    Tarantino’s desire to salute the creative thrill of storytelling is an inviting, welcome presence in American cinema, and his ninth feature suggests he really ought to work more often. But all the vivid callbacks to antiquated TV westerns and the forgotten characters in their orbit fall short of coalescing into much more than that.
  24. The Whistlers
    The Whistlers goes down easy and dissipates soon after the credits roll, but with a murky plot in which the heist in question is often beside the point, the accomplishment of the movie lies within what it says about that agreeable flow.
  25. Young Ahmed
    The Dardennes have been the reigning kings of social realism for years, and tell these sort of morality fables on autopilot, but they’re such precise storytellers that even a minor work like “Young Ahmed” manages to deliver tense showdowns riddled with real-world connotations.
  26. The Wild Goose Lake
    The musicality of Diao’s cinema has never been more symphonic, but it comes at the expense of his ability to properly conduct this script.
  27. Diego Maradona
    You couldn’t ask for a better match between filmmaker and subject.
  28. Les Misérables
    The scalding final sequence of Ly’s film is powerful enough to obliterate the occasionally clumsy path by which it gets there.
  29. The Climb
    This sharp two-hander veers from caustic to sweet with acrobatic filmmaking to spare.
  30. The Lighthouse
    It’s a stunning showcase for Robert Pattinson and Willem Dafoe to unleash their wildest extremes, by positioning them at the center of a two-hander about a descent into madness in the middle of nowhere. It’s the best movie about bad roommates ever made.
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