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For 7,545 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: 4,939 out of 7545
  2. Mixed: 1,248 out of 7545
  3. Negative: 1,358 out of 7545
7545 movie reviews
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  1. The Long Walk
    The concept, in classic King fashion, is simple but alluring, and designed to explore the kind of adolescent male bonding the author honed in works like Stand by Me and IT.
  2. The Smashing Machine
    Taking a performer who has lived at the heights of ring-based fame for more than half his life and connecting him to a guy who most wouldn’t recognize at the grocery store is an ambitious, admirable effort, even if I’m not sure one could truly call it entertaining.
  3. Eleanor the Great
    While “Eleanor the Great” never quite recovers from the moral issue at its center, Squibb’s lively performance makes it memorable.
  4. Men of War
    As a personality portrait, it’s superb. The inherent instability of the filmmakers’ approach fuses with the manipulative charm and psychic damage of their subject.
  5. The Ugly
    Yeon Sang-ho’s The Ugly is a dour, depressing drama, a movie that gets so lost in its lethargic structure that it feels like a chore.
  6. Nouvelle Vague
    Linklater not only pays his respects to Godard but also shares that adoration for his craft with his own audience.
  7. Hedda
    The film largely feels like an echo of something that was once great, a bit like the dilapidated manor in which the party takes place, and can’t quite reach the height of its own ambition.
  8. The Lost Bus
    It’s a reminder of how good the director of “United 93” and “Captain Philips” can be at transporting us to unimaginable circumstances, and it plays like a truly phenomenal disaster movie that happens to be true, one of those flicks you almost always watch the last hour of if you catch it on cable.
  9. Roofman
    Ultimately, “Roofman” is a slick but incurious film that is so preoccupied with showing the what of Manchester’s story that it doesn’t bother to examine the why.
    • 69 Metascore
    • 63 Critic Score
    John Candy: I Like Me
    To his credit, the junior Hanks makes a genuine effort to delve in to Candy’s psychology—to understand what drove him.
  11. Sentimental Value
    It’s a movie that sneaks up on you like great fiction, blending theme and character in a way that allows it to live in your mind after you see it, rolling around what it means to both the people in it and your own life.
  12. Good Fortune
    Ansari struggles as a writer when he tries to make the movie into a commentary on the widening economic rift of the 2020s, and he truly rushes the ending in a way that feels a bit unearned, but there’s so much to like about the four stars of this movie that it’s a really tough flick to hate.
  13. Steve
    The script fails to find depth in some of its most crucial characters, and sometimes feels performatively intense, but the Oscar winner for “Oppenheimer” shines throughout, adding subtlety and grace in places other actors would have ignored.
  14. The Man in My Basement
    Watching these two performers grapple with a text as rich as Mosley’s only leads one back to wishing the film around them trusted them enough to take more risks and to really go somewhere other than the first floor.
  15. Democracy Noir
    While the film is an informative tale of international politics, it’s also a warning sign and rallying cry for action back home.
  16. Blue Moon
    Working from a script by Robert Kaplow, Linklater has crafted one of his finest dramedies, a consistently fascinating exploration of the frailty of the artist, buoyed by one of Ethan Hawke’s most remarkable performances.
  17. Preparation for the Next Life
    Reckoning with the sacrifices that people make to survive in this country, and with the ugliness of what real love can sometimes resemble, [Liu] emerges with an achingly honest meditation on the loneliness of building a life for oneself.
  18. The Threesome
    The Threesome ends up kind of a mixed bag, cute but a bit disjointed.
  19. Twinless
    All these elements come together with a delicate tonal balance that would have been difficult even for veteran filmmakers to achieve. See “Twinless” with your other half, whoever they may be. This is a movie you’ll want to talk through with someone afterward.
  20. Everything to Me
    While there’s a lot to like about “Everything to Me” (Abigail Donaghy’s performance, in particular), Lacob’s heart-on-sleeve script and uncertain direction often leave the whole thing feeling a bit scattered.
  21. The Cut
    This is a bleak nugget of a film that is trying so hard to take the typical sports movie narrative and unleash its darker and more nightmarish side that it runs out of steam long before arriving at its frustratingly oblique conclusion.
  22. The Baltimorons
    A quasi-romantic variant of “After Hours” that perhaps stretches itself a little too far, but it is always enjoyable and sometimes quite moving.
  23. The Conjuring: Last Rites
    The climax of “Last Rites” is as tense and unsettling as you want to be, but it’s also warm and inspiring, because unlike a lot of movies that sell the idea of families being stronger when they all work together, this one totally believes in it and sells it with all the skill and emotion it can muster.
  24. It Was Just an Accident
    Through cinematographer Amin Jafari’s sense of environment, the script’s agile tonal changes, and the attentive cast, we are enthralled from minute one until the end of an intense thriller that operates quietly but with no less punch.
  25. If I Had Legs I'd Kick You
    This exploration of the unfiltered self leads us to the deepest crevices. Just like in astrophysics, it’s unclear where this black hole will lead us, or if we will ever be able to come back.
  26. A House of Dynamite
    Bigelow’s ability to take a series of hypotheticals and render them into narrative actuality has never been more pinpoint accurate or merciless.
  27. Bugonia
    Bugonia is an enraged picture. It’s mad at the world; it’s mad at humanity. Nevertheless, the structuring to reveal the full scope of that anger is surprisingly deliberate.
  28. Frankenstein
    Guillermo Del Toro’s Frankenstein is a breathtaking coup, an exhilarating riposte to the conventional wisdom about dream projects. The writer-director makes something almost new, and definitely rich and strange, out of a story we all thought we knew well.
  29. Springsteen: Deliver Me from Nowhere
    Cooper doesn’t try to tie neat bows either. He allows this superstar to be flawed and damaged, but not in a cheap melodramatic way, in a relatable way that actually gives you strength to find a reason to believe in seeking help. Springsteen becomes as raw and as frank as the characters in his songs.
  30. The Roses
    Roach is a director who can do stylish, clever compositions when it suits him, as demonstrated in his flamboyantly silly “Austin Powers” movies. But you wouldn’t know it from this film, which prizes information delivery over visual pizzazz to such a degree that it often feels more like a pilot for an HBO comedy series than something that can only be properly appreciated on a big screen.
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