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For 7,557 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Ghost Elephants
Lowest review score: 0 Buddy Games: Spring Awakening
Score distribution:
  1. Positive: 4,950 out of 7557
  2. Mixed: 1,249 out of 7557
  3. Negative: 1,358 out of 7557
7557 movie reviews
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  1. Avalon
    Avalon is often a warm and funny film, but it is also a sad one, and the final sequence is heartbreaking. It shows the way in which our modern families, torn loose of their roots, have left old people alone and lonely--warehoused in retirement homes. The story of the movie is the story of how the warmth and closeness of an extended family is replaced by alienation and isolation.
  2. My King
    Though it too readily compares to other intimate observations on life-changing connections, you could place this take by director Maïwenn somewhere between Ingmar Bergman’s masterful “Scenes from a Marriage” and Derek Cianfrance’s searing “Blue Valentine,” while never being able to forget My King's two brilliant performances from Emmanuelle Bercot and Vincent Cassel.
  3. The Harvest
    A smart and strong genre work that makes up for a relative lack of gore and viscera with plenty of tension and suspense and a number of impressive performances.
  4. Stations of the Cross
    Despite that emotional distance, the film is carried by young actress Lea van Acken, forced to really emotionally deliver given the lack of camera tricks some actors use as a crutch.
    • 68 Metascore
    • 75 Critic Score
    The Last Rider
    Basically, if you’re a fan of sports cinema where an all-American lad goes up against a Eurotrashy adversary (Fignon even looks like the blonde-haired dude who tried to kill Bruce Willis in “Die Hard”) on a televised world stage, The Last Rider gives a nice, nifty portrait of a guy who goes through one hell of an uphill battle—both figuratively and literally.
  6. The Innocent
    The Innocent is quirky, touching, and well-played fun.
  7. The Boy Who Harnessed the Wind
    Ejiofor’s movie eloquently harnesses all these customary elements and yields them into an irresistible family film that plays like a brand-new “October Sky” with an urgent human-interest dimension at its heart.
  8. Enola Holmes
    This may be the start of a most welcome girl-powered franchise.
  9. My Friend Dahmer
    There is nothing in this expertly-drawn character study that attempts to solve the mystery of Jeffrey Dahmer, because life rarely hands us those answers.
  10. Bethlehem
    When it stays with the two leads, one Israeli, one Palestinian, it makes a compelling story.
  11. Come True
    Burns doesn’t delve into Sarah’s emotional psyche as deeply as one craves throughout Come True. The somewhat maddening twist ending—more a copout than genuinely earned—excuses some of that misstep, but only artificially so.
  12. Omen
    Omen excellently captures the feelings of both cultural and generational alienation. In script and performance, there is never a moment of certainty.
  13. A Quiet Place: Day One
    There are enough interesting ideas and at least two confident performances holding A Quiet Place: Day One together, even if it sometimes feels like a first draft of a richer, more complex final film.
  14. Crime 101
    This is a special movie. It has a life force unlike any other crime thriller I’ve seen. It’s about characters who suffer a personal failure but emerge transformed. It’s a violent movie, but not a cruel one, and unexpectedly moving by the end.
  15. Red Obsession
    The footage of Bordeaux is awe-inspiring, with aerial shots of the great chateaux and the vineyards. Closeups of the labels from the different chateaux abound, along with luscious shots of glimmering wine being poured. The obsessive nature of the entire industry is reflected in these shots, a good marriage of theme and form.
  16. Miracle
    From its opening, there’s a distinct sense of unease shrouded over Miracle, the third feature written and directed by Romanian filmmaker Bogdan George Apetri.
  17. We the Parents
    We the Parents, one-sided and promotional as it often feels, presents a possible solution, as well as the difficulties in achieving it.
  18. While We Watched
    While We Watched is an urgent interrogation of the state of journalism today. And yet, while important, it’s unclear what this has to say that hasn’t already been said.
  19. No Time to Die
    Even as it’s closing character arcs that started years ago, it feels like a film with too little at stake, a movie produced by a machine that was fed the previous 24 flicks and programmed to spit out a greatest hits package.
  20. Out of Darkness
    The story told in “Out of Darkness” is ultimately sad more than terrifying, a parable about violence and the roots of human war. It’s an impressively credible and gnarly journey back in time.
  21. Ne Zha 2
    Ne Zha 2 is a rare sequel that amplifies both its action and drama without sacrificing much of what already worked in the last movie. It’s also a rare blockbuster that offers something worthwhile for a wide-ranging audience.
  22. The Double
    While the cinematography and production design give The Double a formidable if not particularly original look, what really sells the movie is its acting. Eisenberg is unshowily brilliant in his dual role.
  23. Rafiki
    To feel seen is a potent, potentially life-changing emotion, and only those who were never in the dark would have a moral problem with it. Rafiki makes this serious point quite effectively, never losing its ebullience.
  24. Brats
    I’ll gladly take a documentary about a pop culture moment with too much to talk about when so many of them feel like they have nothing to say beyond what we already know and love.
  25. Just Mercy
    Movies like Just Mercy spoon-feed everything to the viewer in easily digestible chunks that assume you know nothing, or worse, don’t know any better.
  26. The Five Devils
    French writer/director Léa Mysius concocts a compelling witch’s brew with The Five Devils, but the result doesn’t quite come together with the potency she’d desired.
  27. Fear Street Part Three: 1666
    Executed with the confidence of a victory lap, the last hour of "1666" is a series highlight, especially as it captures the brand of out-and-out fun that has made Janiak a newly minted crowd-pleaser in horror.
  28. Beatriz at Dinner
    Hayek turns Beatriz into her own breed of wonder woman, Lithgow’s Strutt is definitely a super villain of sorts and their head-to-head battle is clearly worth seeing even if, in real life, it has only begun.
  29. Superman
    We’re left with a mid-level take on Superman that, at times, will remind you of the 1978 version, but doesn’t quite match it for pure pop entertainment value.
  30. Queens of the Dead
    A few heavy-handed stabs at commentary aside, “Queens of the Dead” gets by with good, flirty cheer.
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