For 3,957 reviews, this publication has graded:
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47% higher than the average critic
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2% same as the average critic
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51% lower than the average critic
On average, this publication grades 0.6 points lower than other critics.
(0-100 point scale)
Average Movie review score: 64
| Highest review score: | Hell or High Water | |
|---|---|---|
| Lowest review score: | Daddy's Home 2 |
Score distribution:
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Positive: 2,217 out of 3957
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Mixed: 1,377 out of 3957
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Negative: 363 out of 3957
3957
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Peter Rainer
By the end of the film, everybody has been triple- and quadruple- and even quintuple-crossed, but the characters still standing all seem to be very pleased with themselves for a job well done. If only we could figure out what the job was exactly.- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
Fred Schepisi, the great Australian director, had the thankless task of trying to turn Jesse Wigutow’s screenplay into something with a pulse, but his finesse is wasted on this steaming heap of dysfunctionalism.- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
Trashy and lurid as this movie is, it’s certainly not boring, and it keeps its star in hog heaven throughout.- New York Magazine (Vulture)
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Peter Rainer
Great on atmosphere and less good on everything else. That’s not entirely a knock.- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
Parts of this film are as blandly lulling as a mood tape, but at best it’s a literally soaring experience.- New York Magazine (Vulture)
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- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
Achingly funny movie...Guest has cultivated a stock company of players whose work together is so intuitively sharp that it seems to redefine the boundaries of acting.- New York Magazine (Vulture)
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- New York Magazine (Vulture)
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Peter Rainer
Bob is a marvelous creation--a faker who is also the genuine article. He’s the perfect hero for a movie about the world as one big scam.- New York Magazine (Vulture)
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Peter Rainer
The real passion here is the almost erotic thrill that acting still holds for Moreau.- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
A comedy in the best sense--it draws its life from the pitch-perfect authenticity of its characters.- New York Magazine (Vulture)
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Peter Rainer
It would take a filmmaker of truly astonishing versatility to harmonize all these disparate tones...But there are moments in Dreamcatcher when Kasdan gives you the giggles and the creeps at the same time, and that’s not easy to do.- New York Magazine (Vulture)
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Peter Rainer
Reygadas is both a sophisticate and a primitive: He sets up his film as a religious allegory, with the nameless painter as a kind of suffering Christ and the old woman--whose name is Ascen, as in Ascension--as his redeemer.- New York Magazine (Vulture)
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Peter Rainer
As the cowboy-hatted wild man who cooks up speed in his motel-room lab, Rourke, who looks at home in his tattoos, is mesmerizingly grungy. He strikes a rare note of authenticity in this otherwise phony fandango.- New York Magazine (Vulture)
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Peter Rainer
Every generation has to discover the same clichés that were drummed into previous generations, and kids could do worse than to learn them from this film.- New York Magazine (Vulture)
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Peter Rainer
In a movie with so much graphic suffering by innocent Africans, it’s a bit disconcerting that so much loving attention is paid to Bruce Willis’s anguished mug. There’s an uncomfortable Great White Father (and Mother) aspect to this movie.- New York Magazine (Vulture)
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Peter Rainer
Frances McDormand deserves much better than Lisa Cholodenko’s flat-footed Laurel Canyon...McDormand alone makes the picture worth seeing: Her character is a rash combo of steel and dissolution and regret.- New York Magazine (Vulture)
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Peter Rainer
Although that pairing (Martin/Latifah) alone may be enough to make this movie a hit, the material is thin and pandering and almost criminally negligent in bypassing opportunities for humor.- New York Magazine (Vulture)
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Peter Rainer
Noé shoots his sequences in long, unbroken takes, and the unblinking horror that results is, I think, the opposite of exploitation. There has been so much lurid bloodletting in the movies that you might think nothing could faze us anymore. Think again.- New York Magazine (Vulture)
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- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
The Grisham-esque murder-mystery plot got so scrambled that, finally, it’s anybody’s guess what the filmmakers intended.- New York Magazine (Vulture)
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Peter Rainer
Scattershot but rousing documentary.- New York Magazine (Vulture)
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Peter Rainer
There’s a ravishing aliveness to the spacious imagery; at least the clichés have room to roam free.- New York Magazine (Vulture)
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Peter Rainer
A wee Boy Scout would have done far better in the wilds. It’s tough to think "Waiting for Godot" when what you’re watching is closer to "Dumb & Dumber."- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
The mystery of the artistic process is left mysterious -- as it should be.- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
A marvelous literary thriller that gets at the way books can stay with people forever.- New York Magazine (Vulture)
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Reviewed by
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- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
For most of this movie, things are exactly what they seem--mediocre.- New York Magazine (Vulture)
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Reviewed by
Peter Rainer
Although Junge had consulted with a few historians and moviemakers over the years, she had never really unburdened herself, and this 90-minute documentary is a devastating act of personal confession.- New York Magazine (Vulture)
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Reviewed by
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- New York Magazine (Vulture)
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