Next Best Picture's Scores

  • Movies
For 300 reviews, this publication has graded:
  • 41% higher than the average critic
  • 6% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 One Battle After Another
Lowest review score: 10 Five Nights at Freddy's 2
Score distribution:
  1. Negative: 6 out of 300
300 movie reviews
  1. It serves as both an exploration of the law and a powerful tribute to a mother, a woman, and a human life tragically cut short.
  2. Bertino and Fanning make some wholly horrific magic together, and their diabolical efforts culminate in a wonderfully sinister parable that is nearly impossible to forget.
  3. It’s easy to wish “Black Phone 2“ came together better, but you can’t deny that all the film’s individual elements are quite strong. It will chill you to the bone while watching, but it won’t haunt you for too long afterward.
  4. It is a harmless outing that, while featuring a few strong performances, ultimately feels like a pleasant diversion from a filmmaker who is clearly capable of far more.
  5. Despite its flaws, the cast, while underused, is a powerhouse, especially Knightley, who remains magnetic. It’s just that “The Woman in Cabin 10” never manages to transcend its setup.
  6. It’s hard to argue with Martel’s mission, or the existence of the film at all; however, unfortunately, the director’s wide-ranging approach has the effect of muddling the story rather than elevating it.
    • 85 Metascore
    • 80 Critic Score
    Homebound is both especially relevant in its exploration of the marginalized communities suffering on the outskirts for the identities society deemed lesser and increasingly resonant for how it shows human endurance does continue to live and fight on in pursuit of achieving their dreams to one day escape, earn their right to freedom and show that no single person should be defined by their background or community.
  7. Director Sepideh Farsi's startling documentary utilizes WhatsApp video chats with a young Palestinian artist living in Gaza to provide a powerful snapshot of how the deadly war is decimating lives across her country.
  8. If anything, Tron: Ares is less a film than a cinematic pin dropped in a franchise map that’s going absolutely nowhere.
  9. Stiller and Meara: Nothing is Lost stands not only as Ben Stiller’s best film directorial work in years but also as a very personal keepsake for him and his family. With admiration, respect and honesty, this carefully crafted cinematic family album ensures his parents’ brilliance and love will never fade.
  10. Exhilarating running sequences are animated with such creative flourishes. It sustains a few of the lulls in this film with thrill and dramatic impact.
  11. Wyatt’s big-budget foray is an oddity, as it feels like it should be truly epic and a film for Hollywood studios to gobble up, but something went seriously wrong when making it.
    • 75 Metascore
    • 80 Critic Score
    Through puppets, recreations, and other hybrid material, León & Cociña have produced an otherworldly, and thought-provoking cultural artifact on Chile's nationalist history.
  12. For fans of The Rocky Horror Picture Show, this is essential viewing. Whether you’ve seen the iconic musical one time or one thousand times, be sure to take a “Strange Journey.”
  13. V/H/S Halloween is a terrifyingly worthy addition to the ranks, excitedly and expertly bringing gorgeously gory and gratuitous fun to fans who love that stuff the most — and god are we grateful for it.
  14. By the end, Play Dirty feels less like a fresh Shane Black comeback and more like another casualty of the streaming churn, loud, empty, and forgettable.
  15. The Alabama Solution may not provide a definitive answer, but it sparks an undeniable demand for change, making it one of the most urgent and important documentaries of the year.
  16. Overall, Obsession turns the volume up on impassioned romances with some incredibly committed performances from stars Johnston and Navarrette, and the wild scenarios they have to navigate. This is a film that demands to be seen with an audience to experience some high-energy creeps, chills, and thrills.
  17. Ronan Day-Lewis makes a superb debut with this expressively shot and scored tale of familial reconciliation. The cast, led by the great Daniel Day-Lewis, is uniformly spectacular.
  18. With The Librarians, Kim A. Snyder has crafted a moving, invigorating call for tolerant thinking and freedom to prevail. Thankfully, it provides a path forward for those who will watch it with concern, showing that the best way to combat ignorance and hate is with the further dissemination of knowledge. Evil prefers a closed mind, and like a good book, these librarians seek to open them.
  19. Anchored by another admirable performance by Fiennes, it mines its milieu effectively enough. Even if the end result doesn’t quite live up to the majesty of Elgar’s opera, or even the truly transformative societal shifts that the Great War wrought on this land, there’s enough to admire about what takes place on screen in this telling to recommend it.
  20. Certain to energize longtime fans and generate new ones for generations to come, EPiC: Elvis Presley in Concert is a masterwork of montage. It’s a definitive doc that gives the sense of how the artist changed popular music, but also about how at his core he was a man with a powerful voice and a zealous need to entertain.
  21. With the help of a superb makeup team, Billy Zane delivers an impressively complex performance as the enigmatic Marlon Brando that stands in stark contrast to the rest of the comedic film.
    • 67 Metascore
    • 70 Critic Score
    “Infinity Castle” doesn’t feel like a movie so much as a wobbly, but often entertaining, first third of a season of television. Mileage will vary if we should grade on a curve knowing it’s the first part of a planned trilogy, but for my money, if you pay for a movie ticket, you deserve a movie ticket ending.
  22. Good Fortune is an amusing effort from Ansari, but one can’t help but leave it wanting a bit more, especially from someone of his caliber of talent.
  23. If one (somehow) completely ignores the utter ridiculousness of a musical performance anchored with mediocre singing (insert snarky Russel Crowe-related comments here, if you’d like), there’s still a lot of fun to be had from the film.
  24. What could have been an effective investigative drama and character study loses all momentum in the film’s structure.
    • 77 Metascore
    • 60 Critic Score
    Ultimately, what you see is exactly what you get with Poetic License – an average American comedy that unremarkably plays it safe.
  25. As Normal barrels toward its conclusion, it’s easy to look past the way it glosses over in-depth characterization.
  26. If you’re looking for a brisk bout of debauchery and family shenanigans, Alex Winter’s latest chilly tale may well be something to be warmed by.
    • 56 Metascore
    • 40 Critic Score
    Denis’ directorial prowess stems from her immaculate compositions, an iconic aspect of her oeuvre that’s diluted by her overt reliance on Koltès’ dialogue-dependent source material.
  27. At its best, Blue Heron soars, creating the world of Sasha’s family in impressively precise ways and allowing the underlying questions to linger without succumbing to simplistic answers or pat moments for cathartic release.
    • 78 Metascore
    • 60 Critic Score
    The Blue Trail, despite its many narrative flaws, stands out for a striking visual style and ability to ask uncomfortable questions about aging and autonomy.
  28. Sections of this story are missing to give an even broader context, and that means the more powerful message of what really went into making this picture ultimately is muted. However, for anyone who looked upon this enormous undertaking and wanted a bit more information, there is plenty here to satisfy.
  29. Predators emerges as both a deeply unsettling reflection on a cultural moment and a probing look at how quickly compassion can erode when entertainment takes precedence over humanity. Stirring and provocative, it is not only one of the year’s most fascinating documentaries but also a career highlight for Dave Osit.
  30. Whether you attended those shows, had your own musical taste shaped by those that took the stage, or are simply interested in a more detailed look at this impactful period of popular music history, Lilith Fair: Building a Mystery provides an excellent guide to this most epic of traveling shows.
  31. Him
    Him falters as a comedy and even more so as a horror film, rarely putting in the effort to build tension or create memorable scares.
  32. Mads Mikkelsen and Nikolaj Lie Kaas give terrific performances and the film’s wild mix of dark comedy, absurdity, and emotional moments keeps it endlessly engaging. Its visuals, sound design, and uniquely Scandinavian humor create a memorable cinematic experience.
  33. John Early's unique sensibility bursts onto the big screen with huge laughs in this loving recreation of '80s-'90s Lifetime movies that's just as heartfelt as it is hilarious.
  34. In a career of many masterworks, this may be Paul Thomas Anderson’s most vital film yet. It’s one cinematic delight after another, a battle cry, and undoubtedly not only the film of the year, but for an entire generation, perhaps the entire decade.
  35. Kogonada channels something, often in the replication of the works of Jacques Demy and Hayao Miyazaki. Yet, it isn’t enough when the central dynamic at its core fails to elicit the yearning spirit that makes any viewer hopelessly head over heels.
  36. Rian Johnson’s resurrection of the all-star murder mystery continues with yet another flawlessly cast, cleverly written, socially relevant, supremely entertaining entry in the “Knives Out” franchise
  37. Ultimately, Tuner is a film about sound, silence, and rediscovering who you are. It’s about the terror of losing what defines you, and the strange, unexpected ways life can offer a new shot for those who feel they already missed it.
  38. A profoundly moving experience about nuanced thematic explorations of connections that is exceptionally crafted. The somber filmmaking highlights an engaging atmosphere, and the narrative is layered, nuanced, and captivating. The performances are all exceptional.
  39. Gavras awkwardly swaps politically charged potency in exchange for an unmemorable satirical take-down of those contributing to our planet’s ongoing environmental destruction.
  40. For some, the narrative’s stronger foundation will be an asset. For others, it’s an underwhelming aspect that detracts from the overall enjoyment of the read. Either way, the film remains a fascinating piece that showcases a high level of creativity, making it worthy of being experienced.
    • 69 Metascore
    • 80 Critic Score
    This carefully crafted documentary is more focused on telling a particularly curated story about Candy than any incisive or thought-provoking portrayal.
  41. Thanks to Ahmed and Karia’s creative collaboration, this new version of a man caught between expectation and collapse, tradition and insurgency, love and fury will hopefully find its way to a new generation that has never experienced Shakespeare’s timeless story before.
  42. The character study being forged remains passionately vibrant, and Maura’s performance serves as the guiding light that makes this effort worthwhile. She is undoubtedly the film’s greatest asset, and it’s worth seeking out just to watch her brilliant work.
  43. The film struggles to find an effective core focus that ties all the narratives together in a cohesive and entertaining manner. Ultimately, Fuze lacks the precision in its writing to make the twists and turns worthwhile.
  44. Ultimately, Mile End Kicks is a messy, heartfelt portrait of youth and creative ambition.
  45. Either you’re able to get on Fuller’s wavelength or not, but the freshness and boldness of Dust Bunny are cause for celebration, regardless of which side you find yourself. There’s nothing else like it.
  46. Anchored by moving performances from Emilia Jones and Nick Robinson, you’ll find yourself falling in love with all that Charlie Harper has in store.
  47. Crime simply hasn’t felt this hot, or this exciting, in quite some time.
    • 63 Metascore
    • 40 Critic Score
    In its attempt to create extreme good vs. extreme evil characters, California Schemin’ schemes one click too far.
  48. With magnetic leads and Julia Jackman establishing herself as one of the most exciting new voices in British cinema, the film pulses with inventiveness and heart. It’s a fairy tale like no other, boldly queer and unapologetically feminist, a cinematic feast of humor, emotion, and rebellion.
  49. Lost in the Jungle is a gripping, deeply human tale of survival, told with precision, empathy, and artistry by two of the very best documentarian filmmakers out there.
    • tbd Metascore
    • 80 Critic Score
    Writer-director Lucía Aleñar Iglesias and star Zoe Stein announce themselves as major talents in the former’s contemplative, moving feature debut - a work that's as patient and impeccably-composed as it is alluring from a plot standpoint.
  50. Though James does her best with what she’s given, this movie doesn’t provide a full and rich look at Wolfe Herd’s life, who is certainly a lot more than just her career achievements (they are immensely impressive, but shouldn’t define her).
  51. The Sun Rises On Us All is, above all, a film of contrasts. Its emotional core and the compelling performances of Xin Zhilei and Zhang Songwen are undeniable, and moments of genuine power shine through. Yet uneven pacing, heavy-handed melodrama, and occasional narrative drift prevent the story from fully resonating.
  52. Leading with sincerity, Hikari makes a moving love letter to the people and places of Tokyo. Brendan Fraser performs with his heart on his sleeve, which lends perfectly to the film’s concept.
  53. The prevention of the rise of similar evil is an unending project needing similar vigilance and tenacity as expressed by many of those captured here on screen in “Nuremberg.”
  54. As a whole, Bad Apples occasionally brings some laughs, but it leaves little to ruminate on after. If Ronan and Waller weren’t as good as they are, bringing a dynamic that has some interesting evolutions, then there would be a lot less to present here.
  55. The Christophers may not be Soderbergh operating at his peak, nor does the film build to a satisfying or impactful conclusion. Regardless, Coel and McKellen make this creative endeavour worthwhile.
  56. A fantastic cast brings a soulful and endearing story to life with plenty of gags and creative world-building in between.
  57. Tessa Thompson and Nina Hoss are electrifying and seductive, and you can't take your eyes off them. Nia DaCosta puts her flair all over this retelling.
  58. Jennifer Lopez and Tonatiuh give exceptional, electric performances. The musical sequences are stunning, thanks to thrilling dancing and gorgeously old-fashioned designs.
    • 74 Metascore
    • 70 Critic Score
    The performances by the entire cast are charming and authentic, elevated by a lovely score and picturesque cinematography. A gorgeous, personal story that's more than easy to get emotionally invested in.
  59. Charming and truthful, this excellent film about the perils of the gig economy serves as a metaphor for the ruthlessness of the free market at large. Bastien Bouillon gives a terrific, grounded lead performance.
  60. Roofman is another standout film from Cianfrance who continues to pull us in with fascinating character studies and explorations of humanity. Tatum delivers on every level, giving one of his very best performances thus far in his career, and Dunst gives so much through her subtle, emotional work.
  61. With Below the Clouds, Rosi performs an act of preemptive time travel by putting images and voices of a specific time, place, and people onto film. It’s a taxing watch that intentionally tries modern viewers’ patience, which is sure to repel most, but the nobility of Rosi’s intentions is inarguable.
  62. The film’s powerful message will resonate strongly with audiences, and while its conventional nature holds it back from true greatness, it makes the most of its strongest elements.
  63. Though the film can feel a bit too unstructured at times, it’s made all the better with a charming film debut from Charli xcx and a cast of characters who keep the energy high at all times.
  64. It wants to speak to the hauntings of history, the burden of Black inheritance, and the strange ways guilt manifests. But the film’s ambition often outpaces its clarity. At its best, it captures the surreal pain of being tethered to a past you never asked for. At its worst, it’s a philosophical fog.
  65. Led by a remarkable Cillian Murphy and featuring a stellar supporting ensemble, "Steve” strikes an empathetic chord by placing mental health concerns at the forefront of discussion.
  66. Greengrass can conjure up some magic in those final twenty minutes as The Lost Bus, on all levels, feels like it’s in rhythm. Unfortunately, by the time it does, the film is winding down to its inevitable conclusion.
  67. It’s a touching and moving homage that reminds us of the precious spirit that directs us towards remembering the deep love we have for family, through all its ups and downs.
  68. Cover-Up is an overall captivating, invigorating watch. Without editorializing too obviously, Poitras and Obenhaus have created an incredibly impactful and, at times, infuriating look at America’s history of violent imperfection, showing that when it comes to holding our nation accountable, journalists like Seymour Hersh are an absolute necessity.
  69. Making dumb seem clever, and clever seem silly, Matt Johnson and company take their mockumentary shtick to new and dizzying heights, literally.
  70. It’s a fitting end to the Warrens’ cinematic journey and a graceful farewell to a franchise that gave us more than we ever expected.
  71. while there are certainly entertaining moments throughout, Van Sant’s interpretation of this forgotten true crime story is simply not as exciting as it should be – and clearly wants to be.
  72. The Stranger is a distancing, cold watch that’s sure to leave many viewers feeling completely stranded, which just may be what Ozon is going for.
  73. A harrowing portrait of an attempted rescue that is captivating and intense. It’s emotionally effective, incredibly moving and haunting as it captures these events with an impactful intimacy. The performances across the board are exceptional.
  74. An enjoyable, meaningful, (mostly) sharply-scripted farewell to the beloved series.
  75. A coming-of-age film that feels surprisingly original. It's hilarious and charming and features fantastic performances. Everett Blunck is a brilliant new talent to keep an eye on.
  76. There’s no denying what a powerfully rendered tale this is, both impressive in its filmmaking and performances.
  77. In the end, The Long Walk is a brutal yet strangely moving reminder that sometimes it is not about the destination at all, it is about the grueling path that gets us there.
  78. Johnson, giving the performance of his career, along with excellent work from Blunt and Bader, makes an inconsistent screenplay not only watchable but entertaining and deeply moving.
  79. Regardless of one’s beliefs—or lack thereof—”The Testament of Ann Lee“ is an undeniably moving and inspirational story of holding true to one’s convictions and finding strength in a like-minded community, effectively brought into the 21st century through powerful, stirring music.
  80. The film deliberately avoids sweeping statements and proclamations, instead choosing to smartly focus on one ordinary person, brought to life by one of our most extraordinary performers.
  81. Even when the story stumbles, Berger’s technical skill and Farrell’s all-in performance keep it engrossing.
  82. Despite being overwritten in places, the screenplay is the real star of the show in The Wizard of the Kremlin. Full of astute observations and dryly humorous quips, it’s gratifying to listen to. Assayas’ film is catnip for followers of political machinations, even if more casual viewers may find it as unconquerable as Russia has proved to be over the centuries.
  83. Father Mother Sister Brother is a cinematic series of variations on a theme, proving to be a gentle yet humorous look at how we interact with the people we have no choice but to know and, hopefully, love.
  84. The story strains to keep momentum as it juggles twists and character threads, and while Aronofsky ties things together in a satisfying way for some, others may find the ending underwhelming. Still, in a summer crowded with blockbusters that failed to meet expectations, Caught Stealing stands out as one of the few worth revisiting.
  85. It’s a tender examination, sometimes not fully formed but always with provocative ideas to unearth.
  86. In the end, Boys Go to Jupiter may not fully stick the landing, but it’s a bold, vibrant, and unmistakably personal work of animated cinema. It won’t be for everyone, but like any great piece of outsider art, it doesn’t try to be. Glander has created something strange and resonant, a lo-fi lullaby for the anxious and overworked who just want to be a kid again.
  87. Bugonia makes the disappointing choice to favor ridiculousness over meaning.
  88. Although considerable attention is paid to a general love of cinema and those who work to create it, this portrait mostly plays on the surface, evading the more complex inquiries necessary to give this analysis greater depth. Despite much to commend, there remains an emptiness at the center that mirrors the protagonist’s own life. Perhaps it is intentional, but it remains unfulfilling.
  89. Preparation for the Next Life emerges as a poignant and empathetic examination of the challenges faced by young people in America. Through Bing Liu’s sensitive direction and Sebiya Behtiyar’s standout performance, it tells the story of two survivors bound by love but trapped in circumstances beyond their control.
  90. After the Hunt struggles to decide precisely how it wants to approach its examination of the (to reference one of Alma’s teaching topics) panopticon-like method of dealing with allegations of amorality in today’s society. But thanks to Guadagnino’s strong filmic choices, Trent Reznor and Atticus Ross’ unnerving musical score, and striking performances, it still manages to draw audiences into its chilling, unsteady world effectively.

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