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For 693 reviews, this publication has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Artist
Lowest review score: 5 The Roommate
Score distribution:
  1. Positive: 426 out of 693
  2. Mixed: 226 out of 693
  3. Negative: 41 out of 693
693 movie reviews
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  1. Gone
    Seyfried has spent too much time lately in vehicles that aren't worthy of her, "Red Riding Hood" being the most egregious example. Gone at least takes her seriously – except when, to delicious effect, it doesn't.
  2. The Forgiveness of Blood
    It's the kind of movie that makes the world feel like a smaller place, suggesting that the similarities connecting us across continents and cultures are more resonant than the things that divide us.
  3. Act of Valor
    The plot might be summed up this way: America's having a war, and everybody's invited!
  4. Wanderlust
    Wanderlust is an agreeable comedy that peters out halfway through.
  5. Ghost Rider: Spirit of Vengeance
    The smugness of the film grows wearying long before the end. Just because the people on and behind the camera are willing to acknowledge what we're watching is ridiculous crap doesn't really change the fact that, well, it is.
  6. Undefeated
    Its triumphs are bittersweet, but they're irresistible.
  7. This Means War
    Bromance or romance, This Means War feels like something scrawled by enterprising teenagers who developed their concepts of love and espionage from films and TV shows they caught over a few weekends of basic cable surfing.
  8. The Secret World of Arrietty
    It's a matinee treat for the very little ones, after all.
  9. Bombay Beach
    But it's to little Benny that the film's heart belongs -- an adorable kid who seems to live only half in this world and the rest of the time in his own imagination, Benny's on a regimen of Ritalin and Lithium and other meds that sometimes leave him even dreamier than is his norm.
  10. The Swell Season
    It's an eloquent summation of the complexities and strength of their bond, and a poetic cap to the pair's fictional and real ups and downs over two films.
  11. Chronicle
    By the time he's putting the entire metro area on notice -- having thrashed his father and all the local bullies -- Andrew has no camera and the metaphor has run away with the story entirely. The crazy thing is it almost works.
  12. The Vow
    Doesn't turn out to be as gauzily sentimental as its beginning (or its marketing materials) suggests.
  13. Safe House
    Safe House is a twisted claw of a movie, a picture so visually ugly that, to borrow a line from Moms Mabley, it hurt my feelings.
  14. In Darkness
    Rather than beginning with the assumption that there is no possibility of our coming to know that kind of suffering exactly and using imagination and insight to truly take us inside the Lvov Jews' plight, Holland makes the base conditions of their confinement a narrative as well as aesthetic priority. And frankly it's boring as shit.
  15. Chico & Rita
    This is the kind of sophisticated storytelling you rarely get even in live-action movies any more, full of unexpected turns and unruly human complications.
  16. Journey 2: The Mysterious Island
    This is a family movie, after all -- but you'll have to sit through some abrasively broad, unfunny exchanges to get there. Dialogue, alas, is the kind of thing that can't be enhanced by the wearing of 3-D glasses.
  17. Crazy Horse
    The picture is celebratory, in its own quiet way, as well as clear-eyed.
  18. The Woman in Black
    The pleasures of the period ghost story The Woman in Black are something like the creepy shiver of delight you get from Edward Gorey's illustrated poem "The Gashlycrumb Tinies."
  19. Kill List
    Wheatley drops enough unnerving bread crumbs in the first two-thirds to leave you wondering where the hell he's headed, and even the big finale should be satisfying enough: It just belongs to a different movie, and it's unsettling in a way that doesn't feel earned.
  20. Big Miracle
    But there's so much going on in Big Miracle that the biggest miracle of all – the whales at the center of the story, get lost amid all the criss-crossing love stories, political wheeler-dealing and well-intentioned but inadequate rescue missions.
  21. The Innkeepers
    Without a strong story to dance with, all of those fabulous tracking shots, lovingly uncanny art direction details and flickering shafts of light can make The Innkeepers feel more like an exercise in craft than a scary movie.
  22. One for the Money
    As played by Heigl, Stephanie is mind-blowingly charmless.
  23. Man on a Ledge
    Either in spite of or because of its whimsically convincing quality, Man on a Ledge is reasonably fun to watch along the way.
  24. The Grey
    What is surprising is how poetic the movie is, partly thanks to its high-lonesome sound design and the desolate beauty of its visuals, but mostly because of its star, Liam Neeson.
  25. Declaration of War
    Between the Truffautish voice-overs and Jacques Demy-style musical interludes, it's a wonder anyone in this sort-of drama, sort-of comedy ever gets any rest.
  26. Underworld: Awakening
    Murky and perpetually bluish in tinge, Underworld: Awakening does and gets little with the 3-D in which it's being offered, and ends by shamelessly setting up a further and fatally unnecessary installment.
  27. Red Tails
    In the end Red Tails is mostly about the coolness of flying. Its heart is in the clouds, instead of with the men at the controls.
  28. Haywire
    That she makes it all look so effortless is part of the fun – as long as you're not unlucky enough to be the guy with his nut in the nutcracker.
  29. The Front Line
    What ultimately makes the film compelling is the extent to which it uses the shared language of cinema to telegraph the caustic feelings of a people toward their own history.
  30. The Flowers of War
    Bale's presence in the film is a kind of misdirect, a calculated element intended to better its international commercial prospects -- his character makes a clumsily predictable journey from cynical drunken expat to hero willing to sacrifice a chance to escape the country in order to care for the children who've ended up in his charge.
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