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. The Last Voyage of the Demeter
    There are no surprises in The Last Voyage of the Demeter. Just about everything in the story plays out exactly how the average horror fan might assume it would, exactly how they know it will, because the movie begins with the end of the story, then does little to play up the dread that comes with that knowledge. And most of us, unfortunately, know too much about this story already.
  2. R.I.P.D. 2: Rise of the Damned
    Given how unnecessary Rise Of the Damned is, Leyden’s choice to pare down the original RIPD’s summer-movie bombast into an agreeable, swiftly paced supernatural Western qualifies as a rousing success. On the other hand, anyone working in the RIPD universe should also understand the value of just staying dead.
  3. No Time to Die
    It would be easier to be less cynical if No Time to Die convincingly delivered on its commitments to Bond’s humanity, rather than nudging it into a handful of scattered scenes, around a lumbering, half-baked drama spiked with explosions and car chases.
  4. Encounter
    If Pearce weren’t so heavy-handed, if were just self-aware enough to know how to connect character with metaphor, then Encounter, a flawed sci-fi flick with a simple premise, could be a great adventure fit for the stars.
    • 41 Metascore
    • 45 Critic Score
    Venom: The Last Dance
    Venom: The Last Dance is so buried under its moving parts that it can’t do justice to any of them, in spite of Marcel’s efforts.
  6. Bad Boys: Ride or Die
    Ride or Die, the joys of Smith and Lawrence’s characters getting on each other’s nerves during improbably explosive shootouts is constantly derailed, as the script workshops or retcons every previous element from prior movies into the grand scheme of this one.
  7. Arcadian
    Arcadian does a few things remarkably well for a sci-fi/horror movie, but it needed a lot more to really spark: more commitment to its vaguely realized setting, more energy between the two very different brothers at its center, and above all, more Nicolas Cage — either version of him.
  8. Memory
    It’s worth remembering this era of cinema, and everything it says about specifically male fantasies and male rage. But it isn’t necessarily worth remembering Memory itself.
  9. A Rainy Day in New York
    Chalamet and Fanning do okay in Rainy Day, but Selena Gomez is the one who shows surprising facility with tart-tongued romance.
  10. Zone 414
    The ways Zone 414 lifts from its predecessors, borrowing elements from character development to costuming to questions about the utilitarianism of our physical bodies, denies it identifiable or entertaining qualities of its own.
  11. The Unforgivable
    Despite a deep ensemble led by a transformative Bullock, Unforgivable moves at a turgid pace, lacking the urgency and pathos required in a redemption narrative with any hopes that the audience will pull for its damaged protagonist.
  12. Let Us In
    While Let Us In has a promising horror sci-fi premise, it squanders its potential by never finding any depth, nuance, or resonance in a legend kids actually find authentically creepy.
  13. Ammonite
    Whether strictly factual or broadly truthful in a poetic sense, its approach to queer history as coded, long-buried document is its most exacting facet. But as a story of science, hidden desire, and sparks re-igniting the soul, it’s a languid affair.
    • 35 Metascore
    • 43 Critic Score
    Knights of the Zodiac
    The defanged action sequences don’t leave an impact, and what was once an engaging story about Greek myths and destiny has been downgraded into a cliched “battle” between technology and faith/magic.
  15. Fearless
    Even as a low-key Netflix time-waster, Fearless isn’t that much fun, except for people who really, really like the idea of super-babies.
  16. Rubikon
    Rubikon’s plot crash-lands while its sincere intentions are left spinning fruitlessly in space, looking for a way back down.
    • 43 Metascore
    • 42 Critic Score
    The New Mutants
    New Mutants doesn’t feel like a movie made for teens. It barely even feels like a movie that was made about teens.
    • 48 Metascore
    • 42 Critic Score
    Ant-Man and the Wasp: Quantumania
    If the story was clunky but the look of the movie was confident, assured, and engaging, there would be something to write home about. But in trying to do everything with Quantumania’s story, screen effects, and setting, Reed doesn’t create much of anything.
  19. Under Paris
    Regardless of what mode filmmakers lean into for a shark movie, they need to bring something worthwhile to that mode. Under Paris gets about halfway there on every front — drama, thrills, terror, character conflict, humanity-versus-nature messaging — and not much further than that.
  20. I.S.S.
    The movie is a tepid botch on pretty much every level.
    • 52 Metascore
    • 42 Critic Score
    Trap
    As the film stands — it’s a fun but halfhearted execution of a killer concept, relying more on sentiment than suspense — it’s just a mild bummer to find out so soon.
  22. Until Dawn
    Until Dawn’s movie adaptation doesn’t fail because it’s not faithful to the game. It fails because it’s boring, in a way the game never was.
  23. Unfrosted
    The movie represents months and months of sustained labor from hundreds of people, including many of the most talented and recognizable names in their field, in the service of a story that possesses no satirical edge, nor any human connection. It takes whatever pleasure that can be derived from a Pop-Tart, and chokes on it.
  24. Deadpool & Wolverine
    It’s hard to buy this movie as a love letter to anything but Marvel Studios’ corporate conquests. Deadpool & Wolverine has made its hero the worst kind of comic-book character: one who doesn’t stand for anything.
    • 26 Metascore
    • 40 Critic Score
    Five Nights at Freddy's 2
    Between the confusing plot elements, the middling horror, and the dodgy acting, Five Nights at Freddy's 2 is a step backward from the first movie. It’s a disappointment: While there are moments in the movie that fans may enjoy, and plenty of robots causing chaos, the story is a mess if you don't already know the ins and outs of the series.
  26. The Whale
    In The Whale, Aronofsky posits his sadism as an intellectual experiment, challenging viewers to find the humanity buried under Charlie’s thick layers of fat. That’s not as benevolent of a premise as he seems to think it is. It proceeds from the assumption that a 600-pound man is inherently unlovable.
    • 58 Metascore
    • 40 Critic Score
    Indiana Jones and the Dial of Destiny
    It’s a disappointing facsimile of the much better Indiana Jones films that preceded it. It’s all competently put together, with entertaining enough sequences to capture an audience for its lengthy two-and-a-half-hour run time. But it plays the game so safely that there are few memorable moments at all. Ultimately, the film is just a painful reminder of how good we used to have it.
  28. Zack Snyder's Justice League
    This cut isn’t going to win anyone over — it’s a self-serious sermon to the converted that isn’t terribly concerned with getting the audience to like its characters — but it all goes down much smoother than the theatrical cut, which feels garish and jagged by comparison.
  29. Hoppers
    Pixar has been alternating between playing things safe with sequels to its hits and taking bigger swings with emotional human stories. Hoppers sits awkwardly between these impulses, recycling emotional moments and plots from other films while eschewing any clear moral or big moments of character growth.
  30. The Bubble
    In short, it’s the “Imagine” video of movies.
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