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For 7,564 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Samurai and the Prisoner
Lowest review score: 0 Buddy Games: Spring Awakening
Score distribution:
  1. Positive: 4,953 out of 7564
  2. Mixed: 1,251 out of 7564
  3. Negative: 1,360 out of 7564
7564 movie reviews
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  1. Tolkien
    As an origin story, Tolkien, has its moments of clarity and emotion. Some of it is oversimplified, even misguided. But the film cares about its subject, and cares about finding ways to portray "things that are good and days that are good to spend."
  2. Porto
    The film’s clever editing (credited to Klinger and Geraldine Mangenot) jumps back and forth through time in intriguing, sometimes intoxicating ways, and even when the drama flags there’s always a stunning image to stare at.
  3. Mope
    The problem with gruesome true stores is that, if the outcome is known, a film needs to work well enough for you to patiently wait for it to get to the climactic re-enactment of the crime. Mope does not garner enough interest in either a storytelling or visual regard.
  4. The Twits
    There is a sense at times that Johnston has over-compensated for Dahl’s cynicism with his wondrous children and their magical friends, and a bit too much of “The Twits” feels like it desperately wants us to love Beesha and Bubsy, even if they’re kind of shallowly conceived and designed.
  5. Ant-Man and the Wasp: Quantumania
    Is it a must-see? No—the middle hour is fun, in that patented easygoing "Ant-Man" way.
  6. King of Thieves
    The result invites confusion and ultimately indifference on the viewer’s part. When one character makes a joking reference to Alec Guinness’ brilliant Ealing comedy “The Lavender Hill Mob” the comparison does this film no favors.
  7. Prisoner's Daughter
    Good scripts make you forget they are scripts. The script for Prisoner's Daughter is quite talky and never takes wing. You can almost see the words on the page, despite the strong efforts of Beckinsale and Cox.
  8. Jolt
    Despite an obviously resourceful filmmaker at the helm and a more-than-game Beckinsale with proven genre chops, the film’s ultimately empty action bores more than it intrigues.
  9. The Scary of Sixty-First
    In the end, I was left feeling like The Scary of Sixty-First was all set-up and no follow-through. Sure, it gets bloody and crazy in ways that will probably turn off some viewers, but it doesn't feel feel like it has something to say about our conspiracy theory culture.
  10. The Hill
    The problem isn't that this is a faith-based film aimed at a specific market niche (some of the greatest films ever made focus on spirituality). It's the project's bland vision.
  11. The Call of the Wild
    The problem is less the technology, which is very impressive, than it is the uneven storyline, which zigzags from slapstick to poignance to action.
  12. Don't Worry Darling
    As Don’t Worry Darling reaches its climactic and unintentionally hilarious conclusion, Wilde loses her grasp on the material. The pacing is a little erratic throughout, but she rushes to uncover the ultimate mystery with a massive exposition dump that’s both dizzying and perplexing.
  13. Leap!
    Co-directors Éric Summer and Éric Warin and their collaborators seem determined to crush the life out of an original premise and many promising characters by stealing every available page out of a substandard American studio animated feature’s playbook.
  14. I Feel Pretty
    Fellow comedian Dave Attell is his delightfully twisted self as the MC at a Coney Island bikini contest where Renee puts on a wild spectacle compared to the typical skinny girls who populate such events. Again, this isn’t a moment of body shaming. It’s an unbridled display of enthusiasm. We’re laughing with her, not at her. If only the rest of the film had such complete confidence.
  15. Detective Chinatown 2
    Even if it's not that funny, Detective Chinatown 2 proves to be snappy and persistent, complementing its bright color palette and energy with basic goals to alternate between silly, dark and slightly clever.
  16. The Mountain Between Us
    A high-altitude soap opera, woozy with overly telegraphed peril and determined to make the audience root for a couple who clearly aren’t meant for each other and played by actors who deserve a generous C-minus in chemistry.
  17. Rememory
    The limitations of Palansky and co-writer Mike Vukadinovich's shared vision are, realistically, the biggest problem with Rememory.
  18. Rock Dog
    What’s interesting about Rock Dog is just how very unapologetically a kid’s movie it is.
  19. Pet
    In a movie year in which I’ve had to see both “Clown” and “Trash Fire,” the bar for worst of year is pretty low. I suppose that Pet, for me at least, completes a trifecta of sorts.
  20. The Last Mercenary
    It’s nice to see that the Muscles from Brussels is not only self-aware, but also sharp enough whenever he has to take a baby step or two beyond his own shadow.
  21. Semper Fi
    Semper Fi is best when it sticks with the journeys of the individual characters, each with their own backstory and struggles. These men have always known each other. But something goes wrong along the way, and Semper Fi suddenly decides it wants to be another kind of movie. The transition doesn't work.
  22. In the Shadow of the Moon
    An odd film like this needs a charismatic anchor in its lead role to keep it from losing its human connection and Boyd Holbrook just can’t muster the energy to do that. It’s a strangely flat, unengaging performance that doesn't match the ambition of the overall piece.
  23. Happiness for Beginners
    The story's heart is Kemper’s Helen, of course, and this role is a perfect fit. Helen is less sunny than most of Kemper’s roles, allowing her to show more subtlety, depth, and complexity.
  24. Riff Raff
    There doesn’t seem to be a single original bone in this film’s body that gives you a parade of half-baked comedic scenes braided with a trite thriller and family mystery.
  25. Jayne Mansfield's Car
    Feels more like a collection of interrelated short stories cobbled into an flavorful but ultimately unwieldy narrative.
  26. The Argument
    There are some very funny bits here, but unfortunately the concept takes too long getting off the ground, leaving the first three-quarters of the movie floating in limbo, waiting for it to all make sense.
  27. Lords of Chaos
    Still: the cold half (ie: the important half) of Lords of Chaos is so ugly and mean-spirited that I couldn't really enjoy the other parts of the film that work, not even Rory Culkin's fantastic lead performance, or the on-screen chemistry that he shares with supporting actress Sky Ferreira (as photographer/love interest Ann-Marit).
    • 48 Metascore
    • 88 Critic Score
    The Strangers: Prey at Night
    An unexpected anomaly — a sequel that both is better than and fixes the problems of its predecessor. It's a chilling and genuinely frightening horror film, driven by some solid performances and Roberts' command of atmosphere, location, and relentless pacing.
  29. King Cobra
    Is it a real film, or a feature that uses the porn milieu to turn out a piece of softcore titillation that’s halfway between porn and actual drama? No doubt some of the film’s makers and defenders would argue for the former.
  30. Mary Magdalene
    Simultaneously gorgeous and eye-opening, the film uses its grace to preach about the potential of storytelling — especially when it comes from an underrepresented perspective. Davis’ movie contemplates miracles and acts of love I’d heard about during a countless amount of hours at Sunday mass and beyond. But through the profoundly compassionate lens of Mary Magdalene, it felt as if I was learning about them for the first time.
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