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. Everything Everywhere All at Once
    Everything Everywhere’s multiverse is a remarkably flexible metaphor. It’s equally suitable for expressing some common frustrations the audience may relate to, about botched choices and wasted opportunity. But it’s just as suited for setting up a series of ridiculously kickass action sequences where literally anything is possible, because the characters aren’t bound by reality or causality.
    • 81 Metascore
    • 90 Critic Score
    Godzilla Minus One
    Godzilla Minus One is the throwback movie that longtime Godzilla fans have been waiting for.
  3. 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.
  4. Mission: Impossible – Dead Reckoning
    These films use movie magic to make real humans look like they’re actually doing outrageous things, rather than using them as faces meant to humanize a digital creation being put through its paces. This is why Dead Reckoning Part One makes for an incredible blockbuster experience.
  5. She Dies Tomorrow
    Seimetz has crafted the perfect anxious monster, repeating an idea often enough to let it take root without explaining so much about it that it can be rationalized away. It’s all nestled within a dark — and at times, darkly funny — psychological horror movie.
  6. Ford v Ferrari
    Shelby and Miles’ story is compelling, but Mangold digs deeper to find the motor that propels Ford v Ferrari across the finish line.
  7. The Mitchells vs. The Machines
    It’s a movie that commands attention, with everything going on across the screen and in the script. The action plot augments the family conflict and vice versa, with every moment of the story pushing those plots forward. It’s an utter delight from start to finish that brings the best of animation and the internet to life.
  8. Huesera: The Bone Woman
    There’s a focus on ritual in Huesera that builds both its horror and its character study in compelling ways.
    • 81 Metascore
    • 95 Critic Score
    28 Years Later: The Bone Temple
    In spite of the heavy odds stacked against it, 28 Years Later: The Bone Temple is one of those perfect middle entry movies: It elevates what came before and throws down the gauntlet for whatever might follow.
  10. X
    West delivers a crowd-pleasing return to horror that’s a love letter to the genre without becoming a parody.
  11. The Sparks Brothers
    Wright takes an exhaustive approach to the band’s career, going album by album, talking to collaborators and supporters as well as to the Maels. Throughout, Russell and Ron remain somewhat aloof, perhaps by design. They’re more open about their past and their intentions here than they’ve ever been in interviews, but they aren’t about to give away all their secrets.
  12. Totally Under Control
    Working with fellow directors Ophelia Harutyunyan and Suzanne Hillinger, Gibney has delivered a swiftly paced chronicle of history in the making, rich in both immediacy and uncertainty.
    • 80 Metascore
    • 90 Critic Score
    Barbie
    Barbie the doll has to be everything for everyone, and she’s never succeeded. Barbie the movie has been asked to perform the same impossible trick — and just like I still feel a sentimental attachment to Barbie, I feel an overwhelming fondness and admiration for the movie’s daring attempt to make it work.
  14. The Beast
    Rather than copying the core premise of the short story, Bonello’s French- and English-language adaptation uses James’ dense, descriptive prose to weave detailed textures and sensations in each of his timelines.
  15. Sleep
    Sleep feels like a major debut by a filmmaker who is ready to defy conventions and entertain audiences. It belongs alongside those great Korean horror films, even while standing apart.
  16. Mank
    Fincher’s movie about movies seems to be about attempting to work within a system that’s encompassing enough to impose itself on fantasies and reality alike.
  17. Bad Education
    This isn’t a movie about car chases and explosions, it’s about the squirmy but satisfying feeling of watching justice done, and it’s a pleasure to watch the pieces fall into place.
  18. Guillermo Del Toro’s Pinocchio
    It’s an unruly, wild, and tender film that sometimes gets lost but, by the end, finds its way to a very moving state of grace.
  19. Dune: Part Two
    Dune: Part Two is exactly the movie Part One promised it could be, the rare sequel that not only outdoes its predecessor, but improves it in retrospect… One of the best blockbusters of the century so far.
  20. Apollo 10½: A Space Age Childhood
    Apollo 10 1/2 is a charming, visually striking blend of history and fantasy that captures the way children see and process historical events happening around them, and considers what they choose to remember — and how those choices affect them as adults, and the worlds they choose to build around them.
  21. How to Have Sex
    With a patient, compassionate, but penetrating gaze, How to Have Sex maps out the dangerous, murky territory of teenage sexuality and friendships.
  22. Furiosa: A Mad Max Saga
    So even as Furiosa is inevitably compared with Fury Road, both positively and negatively, put your trust in Miller’s weird, wild filmmaking.
  23. The Assistant
    Green’s approach to stories — finding larger truths rather than focusing on the most sensational aspects — vaults The Assistant into extraordinary territory, as it sheds light not only on the actions of abusers in power, but on the people around them, who can’t or won’t do anything to change the status quo.
  24. Another Round
    Vinterberg’s ending offers an unlikely sense of catharsis, even though it isn’t truly happy, turning the film into something fresh and affecting. On top of all that, the film provides the opportunity to watch Mikkelsen give perhaps his best performance yet.
  25. The Innocents
    Vogt makes deliberate, thoughtful choices that amp up the story’s drama and horror without ever turning it into the kind of action-centric special-effects showcase Americans have come to expect even from their low-budget superpower stories.
  26. i'm thinking of ending things
    The maze Kaufman is leading us through is a mystery, as he never pulls back far enough to show us the whole thing. But as itchy and claustrophobic as the paths are, they ultimately lead to a sense of hope.
  27. Top Gun: Maverick
    It’s a slavish tribute to the first Top Gun. But it’s also a better film, and perhaps more importantly, a much nicer one: more grown-up, more generous, and more lighthearted, in line with its more mature star.
  28. The Witches
    The combination of Dahl’s bleak plot turns, from the offscreen death of Luke’s parents to a witch who lures the grieving young boy out of his treehouse with the promise of a pet snake, Roeg’s in-your-face camerawork and Henson’s creature effects make every second of The Witches unencumbered, gleeful torture.
  29. Warfare
    By smartly leaning on the tools of horror movies rather than war movies, the co-directors have made one of the most tense and scary movies of the year so far, along with some of the most harrowing cinematic combat ever put to film.
  30. After Yang
    After Yang is intensely internal and personal, as grief so often is, which guarantees it won’t connect with a wide audience. But as a collection of images and moods, all gently nudging at that central question of what defines a person, it’s gravely hypnotic. It’s an old question, asked in a new way, with deepest gravity and respect.
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