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For 4,651 reviews, this publication has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Arrival
Lowest review score: 0 A Hole in My Heart
Score distribution:
  1. Positive: 3,348 out of 4651
  2. Mixed: 845 out of 4651
  3. Negative: 458 out of 4651
4651 movie reviews
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  1. Tulip Fever
    Nearly every role is miscast, which is rather amazing. Christoph Waltz and Judi Dench (as an abbess) are perhaps the exceptions.
  2. Goon: Last of the Enforcers
    The comedy is embarrassingly unfunny, the attempts at drama are badly acted and sometimes cringe-worthy, and the copious amounts of blood during the fight sequences fall short of being amusing while sabotaging any hope of taking them seriously.
  3. The Layover
    The Layover is an appalling movie.
  4. Temple
    Temple shows a better path for horror films to follow but the screenplay is too threadbare and the characters too poorly developed for it to really work. This is about 2/3 of a solid effort – unfortunately, the other 1/3 was never made.
  5. Good Time
    Connie (Robert Pattinson) is one of those individuals who constantly seems to be on the edge of a violent explosion and that potential makes watching Good Time a frequently exhausting experience.
  6. England Is Mine
    It’s competently made and sporadically compelling but not likely to pique the interest of anyone unfamiliar with the main character.
  7. Shot Caller
    Despite being sold and marketed as a thriller, the most interesting aspects of Shot Caller are the dramatic ones.
  8. Bushwick
    Unfortunately, because of a variety of missteps, Bushwick never achieves what it sets out to do. It’s undone by a litany of bad decisions and the underlying weakness of the core material.
  9. 6 Days
    This is as pure a narrative-based film as one is likely to find; the men and women populating 6 Days exist primarily to move the story along.
  10. Ingrid Goes West
    Ingrid Goes West is part comedy, part tragedy, part horror/thriller, and part social commentary. Although it is primarily satirical, director/co-writer Matt Spicer never loses sight of the characters.
  11. Ghost House
    Ghost House is a generally well-made but ultimately unsurprising excursion into the supernatural.
  12. The Hitman's Bodyguard
    For me, The Hitman’s Bodyguard is the epitome of what a summer movie should be. There’s sufficient spectacle to satisfy the “wow!” factor, some hammy performances by actors in their wheelhouses, a half-dozen solid laughs, and a script that, if not likely to be called “clever” or “smart”, doesn’t demand a frontal lobotomy to be enjoyed.
  13. Logan Lucky
    Although Logan Lucky works as a heist film, it neither amazes with its narrative contortions nor keeps the audience waiting with baited breath for the unveiling of some big twist.
  14. What Happened to Monday
    Links between climate change, population growth, and a potentially catastrophic worldwide famine are reduced to background plot points. The moral/ethical conundrums of the “solution” are paid lip service but not aggressively integrated into the story.
  15. Patti Cake$
    This is a feel-good tale through-and-through yet, because of the aesthetic and setting, it doesn’t feel cloying and artificial. And, perhaps most importantly, it earns the modest ending.
  16. The Glass Castle
    By laminating Walls’ story with a Hollywood sheen, the narrative climaxes in an artificial and contrived manner. The penultimate scene is so obviously scripted that its inclusion is damaging. That’s too bad, because there are some effective individual scenes earlier in the proceedings.
  17. Wind River
    Lambert’s three-dimensionality elevates Wind River above the norms of the traditional crime movie so that, in addition to delivering the expected tropes, it provides a richer, more fulfilling experience.
  18. Brigsby Bear
    The story is engaging and McCary provokes an emotional response with his careful and nuanced handling of the main character’s mindset and situation.
  19. In This Corner of the World
    For an American/international audience, perhaps the most important contribution provided by In This Corner of the World is one of perspective.
  20. Armed Response
    Unfortunately, although there’s an opportunity here to do something compelling, that opportunity is largely wasted. Perfunctory characterization, lackluster acting, an inability to sustain tension, and an incoherent ending waste most of the goodwill resulting from the premise.
  21. Kidnap
    It is possible to make a movie in which nearly the entire running length is a car chase. An example of how to do this is "Duel." An example of how not to do it is Kidnap.
  22. The Dark Tower
    The Dark Tower isn’t a bad movie even though there’s a clumsiness to its narrative and a cheapness to its appearance.
  23. Detroit
    Detroit, despite its flaws, is compelling and deeply unsettling. Its thriller and horror elements gain resonance because, at least to some degree, they’re based on real events.
  24. The Emoji Movie
    The Emoji Movie proves unable to provide even a modicum of content capable of capturing or retaining the attention of an adult. Nap time.
  25. Atomic Blonde
    The result, while at times a little too visually chaotic, is bracing.
  26. Girls Trip
    The core problem with Girls Trip is its length. What might be a fun, frivolous affair at 90 minutes turns into an endurance contest as the clock ticks toward the two-hour mark.
  27. The Midwife
    The Midwife has two things going for it: Catherine Frot and Catherine Deneuve. There’s no disputing the quality of acting in this film, at least insofar as the leads are concerned. Unfortunately, almost everything else in Martin Provost’s staid character study falls considerably short of the bar set by the two Catherines.
  28. Landline
    Director/co-writer Gillian Robespierre is nowhere near as self-indulgent as Noah Baumbach but she’s aiming for the same audience.
  29. Valerian and the City of a Thousand Planets
    On a purely visual level, Valerian and the City of a Thousand Planets deserves mention among the most technically accomplished works of those three. But as a complete motion picture experience, it falls considerably short.
  30. Dunkirk
    Although Dunkirk is technically a war film, its tone and style are those of a high-octane thriller. For his most serious-minded film to date, Christopher Nolan has employed all the weapons in his arsenal to craft something that, despite the Oscar-unfriendly July release date, will almost certainly be remembered when the Best Picture nominations are handed out.
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