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For 7,548 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 0.2 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: 4,942 out of 7548
  2. Mixed: 1,248 out of 7548
  3. Negative: 1,358 out of 7548
7548 movie reviews
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  1. Shadow in the Cloud
    Roseanne Liang's Shadow in the Cloud is the type of genre movie that makes many of its bizarre choices just for the sake of seeing if it can all work. But whether you find the film to be ambitious, or just some stunt screenwriting, it's intriguing to watch an audacious filmmaker try to keep midnight-ready movies unpredictable, even if that means a sincere but silly mash-up of WWII dogfights, gremlin chaos, and feminism in action such as this.
  2. We Can Be Heroes
    With enough enjoyable originality to differentiate it from the numerous takes on the super men and wonder women that so heavily populate film and TV these days, We Can Be Heroes flies Rodriguez back to one of his main areas of interest.
  3. Sylvie's Love
    Sylvie’s Love feels downright rebellious, daring to exist with its unapologetic old-fashioned quality at a time when many maddeningly seem to dismiss honest-to-god romances and proud women’s pictures as slight and outdated.
  4. One Night in Miami
    This is a very good film, full of memorable performances and thought-provoking speeches and arguments. The accomplishments of King and her actors are even more impressive when you stop to think about the shadows these men cast, both in their real-life incarnations and their cinematic representations.
  5. Wonder Woman 1984
    Gadot remains a winning and winsome figure in “Wonder Woman 1984,” and she retains her authentic connection with the audience, but the machinery around her has grown larger and unwieldy. Maybe that was inevitable, the urge in crafting a sequel to make everything wilder and brasher, more sprawling and complicated. In the process, though, the quality that made the original film such a delight has been squashed almost entirely.
  6. Museum Town
    Ultimately, Museum Town is a loving tribute that misses some opportunities but also fully represents the unpredictability of life.
  7. Hunter Hunter
    I like cheap exploitation as much as the next guy, but not when it tries to disguise itself with transparently insincere humanist indie trappings.
  8. Skylines
    Every bit of this movie yearns to be on the same proverbial shelf as something like Bay “Transformers” or Anderson’s “Resident Evil” films, but it doesn’t do enough to carve out its own space. An alien planet shouldn’t look this rote; same goes with the life-or-death action that happens on it.
  9. Climate of the Hunter
    I can’t honestly recommend Climate of the Hunter to everybody; it’s not a generic horror movie, but rather a dark arthouse fantasy that brings to mind the films of Ingmar Bergman and Andy Milligan. To say that Reece’s movie is bound to be an acquired taste would be something of an understatement.
  10. Fatale
    It lacks the verbal punch of a pulpy film noir. Its pacing is too slack to serve as a gripping romantic thriller. It even rings hollow as a cautionary tale, because everyone is scheming and duplicitous and so no one has been truly wronged.
  11. Greenland
    Ultimately, Greenland never comes together into a truly satisfying package, but it deserves a little credit for trying to do something unique within such a familiar framework.
  12. Small Axe: Education
    This is heavy material, to be sure, but it’s not without dark humor.
  13. The Last Sermon
    The film introduces us to some intriguing characters, several of whom deserve their own movies, but it would benefit from a clearer focus.
  14. Soul
    "Cars" and its various derivatives aside, Pixar has never released a flat-out bad film. And this is a good one: pleasant and clever, with a generous heart, committed voice acting, and some of the kookiest images in Pixar history.
  15. Monster Hunter
    You can’t make a movie called Monster Hunter that’s boring to look at it, and this is one of Anderson's flattest films in every way.
  16. Through the Night
    Limbai captures all of this in a direct, unforced, and restrained manner that makes its points about the need for reform to social services without becoming overly strident.
  17. Spiral
    This movie is progressive intentionally, but not formally, and the difference between its creators’ themes and consideration is unfortunately glaring.
  18. Jingle Jangle: A Christmas Journey
    "Colorful" is not a colorful enough word to describe a fantasy movie musical so maximalist that even the title is overstuffed.
  19. All My Life
    It has all the gloss of a Pottery Barn catalogue and all the depth of a "hang in there" greeting card, but if you are in the mood for a sad story about very attractive people learning to get the most out of the time they have, it will do.
  20. Dear Santa
    This film's message that it's truly better to give than receive is especially timely, combined with the now-nostalgic images of maskless people crowding together and giving each other hugs.
  21. The Stand In
    The film meanders somewhere between comedy-ish and drama-ish, never managing either.
  22. Safety
    This is an inspirational movie in the broadest sense. You have to squint a lot to see the true story within it, but it's there.
  23. Yalda, a Night for Forgivness
    The result is a twisty-turny plot that sometimes feels like a family drama, sometimes like a legal thriller, with Bahkshi delivering a bombshell, allowing the film’s characters time to react to it, and then dropping another secret that is even more shocking than the first.
  24. Finding Yingying
    One thing that comes across so clearly in Finding Yingying is the ripple effect the disappearance of a loved one has on their family and friends. It’s a waking nightmare of uncertainty that stretches for years. A grief that’s always just on the surface waiting to unleash itself once again.
  25. Farewell Amor
    Writer and director Ekwa Msangi constructs this nontraditional narrative with an attention to detail for each of these characters. Just as important as their conversations is their body language and how it shifts around one another.
  26. Assassins
    White plays it straight, and deftly untangles the different webs of meaning and implication, political, social and otherwise, to draw us into Siti and Doan's worlds, to understand how the girls were tricked and used as pawns in a deadly North Korean family feud.
  27. Archenemy
    Writer/director Adam Egypt Mortimer is clearly a movie-mad soul, and if he can get a little further out from under his influences he may concoct something a more consistently geekily transportive.
  28. Songbird
    The truth is that even if one sets aside all potential moral arguments about the very existence of "Songbird," it's still just really bad. If you're going to make a movie this exploitative and gross, you really have to make it better to disguise the smell of it all.
  29. To the Ends of the Earth
    Trying to explain how this movie works as well as it does, without using excessive jargon or some kind of audiovisual aide, is tricky since “To the Ends of the Earth” isn’t about anything less than its heroine’s uncertain relationship with her foreign environment, and what she chooses to communicate simply by being seen and heard. Which is often thrilling to behold, but not so much to explain.
  30. Small Axe: Alex Wheatle
    Even as a standalone feature, this installment falters by keeping its main character at arm’s length. We never get close enough to Alex Wheatle to feel as if we know him. Despite my mild dissatisfaction, I believe that distancing is on purpose, a part of the film’s design.
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