Polygon's Scores

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For 731 reviews, this publication has graded:
  • 70% higher than the average critic
  • 3% same as the average critic
  • 27% lower than the average critic
On average, this publication grades 4.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Spencer
Lowest review score: 0 Red Notice
Score distribution:
  1. Positive: 530 out of 731
  2. Mixed: 141 out of 731
  3. Negative: 60 out of 731
731 movie reviews
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  1. Coffee & Kareem
    The mash-up of tones is a tough one, as is the film’s central pairing, but it works just well enough.
  2. Last Christmas
    Last Christmas does the job when it comes to creating a pleasant haze of warm feelings, offering a momentary respite from the cold, cynical world outside the movie theater.
  3. The Bad Guys
    Even when The Bad Guys resembles other movies, it’s stealing from them gracefully, with its own sensibility and energy.
  4. Rumble
    There isn’t a lot of substance beneath that spectacle, but Rumble does monsters, wrestling, and monster–wrestling pretty damn well, and it makes young viewers’ possible first sports movie into something memorable.
  5. Leave the World Behind
    In its creation of a hushed, lonely idyll at the end of the world, disturbed by techno-biblical visions of disaster, what it recalls more than anything else is Lost. And like Lost, it’s most assured when it isn’t explaining itself or looking for climax or resolution, neither of which it really finds.
  6. Nosferatu
    Eggers has made a visually grand movie, with an impressively doomy atmosphere and one hell of a closing shot. As a finely wrought monument to the ultimate Gothic horror movie, it’s worth seeing. But as a new reading of one of the most resonant stories of the past 150 years, it rings hollow.
  7. Sasquatch Sunset
    No bodily function goes untapped in Sasquatch Sunset, which happens to be a meditative communion with North America’s glorious woodland.
  8. Elio
    Elio is a big-swing movie, an attempt to push viewers out of their comfort zones and into a strange new setting. But while it successfully blasts off to a colorful new world of wonder, it doesn’t always land.
  9. Beast
    It’s very much in the tradition of another Spielberg summer creature movie: Like Jaws, Beast heightens basic human fears about a sharp-toothed predator into something impossible, even ridiculous, yet weirdly plausible for most people.
  10. All Together Now
    It’s the rare teen movie that doesn’t seem like it’s mostly a fantasy, that gets beyond the big, artificial beats of series like Glee and Riverdale.
  11. Brian and Charles
    The warmth and tenderness with which the film explores the relationship between Brian and his creation are real.
  12. Arlo the Alligator Boy
    Ultimately, everything about Arlo the Alligator Boy feels like a setup for something yet to come. That isn’t an inherently bad thing, but it does shift the audience’s expectations for the movie.
  13. Jurassic World Dominion
    If we have to wade through some silly, pandering nostalgia to get to this pleasingly vast dinosaur playground, so be it.
  14. Violent Night
    The film has fun lobbing snarky one-liners and outrageous bloodshed at the audience, but on the whole, Violent Night’s big red bag of self-aware tricks is overstuffed.
  15. Glass Onion: A Knives Out Mystery
    In Glass Onion, made amid the dissociation of COVID, [Johnson] just lashes out left and right at a series of easy targets: the utopian fantasies of Big Tech, the hypocrisy of liberal politics, the fatuousness of online image-making. It’s muddled stuff, embodied in a gaggle of callow caricatures that he struggles to establish a natural kinship between.
    • 70 Metascore
    • 67 Critic Score
    Mike & Nick & Nick & Alice
    While Mike & Nick & Nick & Alice isn’t a bad movie, it’s not a very smart one. Constant plot recapping aside, this is a quick-moving comedy with plenty to enjoy.
  17. The Watchers
    It has its share of creepy moments, rising tension, and sudden-blast-of-music jump scares, but as a suspense story, it fizzles out surprisingly early.
  18. Spy x Family Code: White
    Each half of the movie represents a different aspect of Spy x Family’s appeal, and each half is quite good for what it’s supposed to be. They just don’t gel together at feature length.
  19. The Witches
    If anything, this version could have benefited from being weirder. Given that weird is territory Zemeckis seems to specialize in, The Witches’ relatively tame nature is a letdown.
  20. Peter Pan & Wendy
    On paper, the result is one of the more meaningful departures from convention that Disney has seen in recent years. In execution, though, it falls ever so slightly short, though not for lack of originality.
  21. The Knight Before Christmas
    It’s equal parts modern fairy tale, time-travel movie that’s meant to make people understand and appreciate their own era, and Christmas magic movie, and the creators don’t do anything meaningful to refresh those genre trappings, or play with their conventions.
  22. AKA
    AKA is at its best when it showcases Alban Lenoir, Action Star, rather than its own status as a less stylish Man on Fire. It’s still worth watching if you’re interested in the new wave of French action cinema, and one of its most intriguing stars. But if you haven’t seen the Lost Bullet movies yet, definitely prioritize those for excellent Lenoir action.
  23. Space Sweepers
    Imagining space as an extension of earthly capitalism certainly isn’t new, but at least Space Sweepers’ cast has the collective charm to make the material feel like fresh, worthwhile viewing among the increasing detritus of streaming content
  24. Dolly Parton’s Christmas On the Square
    Part cheesy Hallmark movie, part community-theater production, part A Christmas Carol meets It’s a Wonderful Life, the special is a mosaic of holiday tropes — and that’s a good thing. The acting is over-the-top, and the plotline has as much subtlety as Dolly’s bedazzled platform boots, but its larger-than-life theatrical nature makes it even more enjoyable.
  25. Coming 2 America
    Murphy’s charm, his close chemistry with Hall, Snipes’ wily performance, and the resplendent costumes uplift this nostalgia trip.
  26. Project Power
    Project Power’s burst of color comes from its central conceit and Joost and Schulman’s sense of style. It’s bright and attractive, but it fizzles out quickly. Tomlin’s idea is innovative, but the story he tells with it is tired.
  27. Godzilla x Kong: The New Empire
    Godzilla x Kong (yes, it’s styled like that, like a streetwear collab) is beyond “good” or “bad” or “movies.” It’s an arena show, a pro wrestler shouting in the squared circle, thumping their chest and raising the jumbotron hype meter before doing their signature move.
  28. Spenser Confidential
    As Berg and Wahlberg (perfect partners, even in name) ascended inexorably toward a parodic level of Bostonian-ness in Spenser Confidential, I wondered if I wouldn’t be having a better time just getting a more concentrated dose of Arkin in The Kominsky Method.
  29. Bubble
    Bubble is tender, even meditative. But its best ideas are sadly swept away amid a wave of half-formed ones.
    • 76 Metascore
    • 65 Critic Score
    Something in the Dirt
    The film is genuinely clever at times in the way it explores the construction of illusions. But the process is deflating, because it also pushes the audience away, cutting them out of any investment or belief in the narrative.
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