For 3,970 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: 2,225 out of 3970
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Mixed: 1,381 out of 3970
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Negative: 364 out of 3970
3970
movie
reviews
- By Date
- By Critic Score
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- New York Magazine (Vulture)
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Reviewed by
David Edelstein
The ending is a huge letdown, doing little besides setting the stage for the sequel… But for a good hour and change, the film is a big toy box that teases you out of the Gloom.- New York Magazine (Vulture)
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David Edelstein
Beatty is trying to elevate the material while at the same time draining it of energy. The movie is so misbegotten that it’s almost poignant. But I hope Beatty has a few more left in him.- New York Magazine (Vulture)
- Posted Nov 26, 2016
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Bilge Ebiri
This is, indeed, a somewhat kinder, gentler Bad Boys: less proudly offensive, less extravagant, but still basically the same collection of stylish clichés made palatable by a duo of likable stars with good chemistry.- New York Magazine (Vulture)
- Posted Jan 15, 2020
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David Edelstein
Bier dramatizes our ambivalence so earnestly that it's tempting to give her awards rather than admit that the movie is a crushing bore.- New York Magazine (Vulture)
- Posted Mar 28, 2011
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Bilge Ebiri
Clean, pleasant, and thoroughly unremarkable. It passes the time, but with that cast and that director, it should have been so much more.- New York Magazine (Vulture)
- Posted Jul 25, 2014
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David Edelstein
The film is based on a novel by Susan Minot--one of those books where the author doesn't deign to put dialogue in quotation marks for fear of dispelling the dreamlike mood. It works on paper, but Minot, who shares credit for the adaptation with fellow novelist Michael Cunningham, doesn't understand that screenwriting is the art of taking away.- New York Magazine (Vulture)
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The movie is physically beautiful, but the ideas are kitsch -- it’s a New Age love story, the latest version of the doomed romances of 50 years ago.- New York Magazine (Vulture)
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David Edelstein
The (elderly) Burt Reynolds vehicle The Last Movie Star strikes a note of banality in its first sequence from which it rarely deviates.- New York Magazine (Vulture)
- Posted Apr 2, 2018
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Angelica Jade Bastien
Ultimately, to borrow a phrase from writer Michele Wallace, Ma is too wistfully hegemonic to truly work.- New York Magazine (Vulture)
- Posted May 31, 2019
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Alison Willmore
Reminiscence is the damnedest thing — a movie filled with promising concepts it doesn’t get around to exploring, because it’s dedicated to a romantic mystery that’s never very romantic or mysterious- New York Magazine (Vulture)
- Posted Aug 20, 2021
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David Edelstein
It's hard to get past the primitiveness of Allen’s fantasies.- New York Magazine (Vulture)
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Peter Rainer
Predictable, not so much from his (Zhang Yimou) previous movies as from the work of the many sentimentalists who have already plowed this well-tilled turf.- New York Magazine (Vulture)
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Peter Rainer
A frustrating blend of the sharply funny and the ploddingly generic. Although he does them well enough, we don’t really need Ron Shelton to give us the same old skidding-U-turn cop-thriller theatrics. He’s a much more distinctive talent than this crass spree allows for.- New York Magazine (Vulture)
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David Edelstein
Spiderwick. There’s nothing wrong with it that passion and personality couldn’t fix.- New York Magazine (Vulture)
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Bilge Ebiri
Love Me, despite having two incredibly expressive actors at its center, remains furiously literal-minded in its questioning. And unfortunately, the more questions this picture asks, the more maudlin and shallow it becomes.- New York Magazine (Vulture)
- Posted Jan 30, 2025
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David Edelstein
The film is sometimes gentle to the point of blandness, but it's never flimsy.- New York Magazine (Vulture)
- Posted Jul 2, 2011
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David Edelstein
An unusually powerful mess, a broad satire of suburban self-indulgence with little in the way of a consistent style, and with a character who's serious business: a convicted child molester.- New York Magazine (Vulture)
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David Edelstein
The film is repetitive, top-heavy: Wright blows his wad too early. But a different lead might have kept you laughing and engaged.- New York Magazine (Vulture)
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Bilge Ebiri
Aside from the ingenious creation of Moretti and his occasionally unpredictable behavior, the film fails at creating interesting characters, deploying suspense, and even delivering some cheap thrills.- New York Magazine (Vulture)
- Posted Jan 29, 2025
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Bilge Ebiri
For all the visual vividness, we have very little actual sense of this land, or the people who live there. Yes, The Legend of Ochi looks amazingly, impressively real, but it’s populated by non-characters pursuing a nothing story.- New York Magazine (Vulture)
- Posted Jan 27, 2025
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Peter Rainer
The film may have its roots in reminiscence, but it doesn't feel like it comes from the heart: Zeffirelli's, as usual, is swathed in tinsel. Still, the villas on display are gorgeous, and watching those dowager martinets intimidate the Fascisti is fine sport.- New York Magazine (Vulture)
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David Edelstein
Life After Beth is a reasonably fun, medium-gory horror comedy that’s better before the innards hit the fan.- New York Magazine (Vulture)
- Posted Aug 18, 2014
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Peter Rainer
It downplays the effects of George's drug trafficking, not so much on himself and his cronies as on the wrecked lives of the generation of customers we never get to see.- New York Magazine (Vulture)
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Bilge Ebiri
She’s Funny That Way often displays an old-school generosity and polish, and at least one breakout performance — but just as often, its moments of inspiration are tempered by miscasting and shrill attempts at humor.- New York Magazine (Vulture)
- Posted Aug 24, 2015
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Bilge Ebiri
The not-so-good news is that Mid90s never quite manages to make an impact, in part because it gives us so little to hang onto with the characters onscreen.- New York Magazine (Vulture)
- Posted Oct 19, 2018
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David Edelstein
The middling romantic comedy Smart People, which centers on a hyperintellectual dysfunctional family, is of interest chiefly for the first post-Juno role of Ellen Page.- New York Magazine (Vulture)
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David Edelstein
The most charitable way to view it is as a Dadaist experiment, in which two tonally disparate movies were hacked down and their remaining strands woven together to bizarre effect.- New York Magazine (Vulture)
- Posted Sep 9, 2017
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Bilge Ebiri
The Apprentice is a hodgepodge of scenes from the life of Trump and Cohn with little emotional fluidity.- New York Magazine (Vulture)
- Posted Sep 5, 2024
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David Edelstein
Love it or laugh at it, you will gaze on Southland Tales with awe.- New York Magazine (Vulture)
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