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For 7,549 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: 4,943 out of 7549
  2. Mixed: 1,248 out of 7549
  3. Negative: 1,358 out of 7549
7549 movie reviews
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  1. Absolutely Anything
    Absolutely Anything is more than its unique place in history, and serves to remind us that no one made movies for goofy adults quite like Jones did.
  2. Hounds of Love
    Sleazy Australian kidnapping drama Hounds of Love will make you wish you were watching a more traditionally nihilistic horror film.
  3. Get Me Roger Stone
    In some ways, Stone’s soul seems part carnival huckster, part 19th century anarchist. A petri dish of toxic pathologies, he has come so far from his Goldwaterite beginnings he could now write his own book: A Conservative Without a Conscience.
  4. Violet
    For this viewer, the formal element and the narrative never quite cohered, and I wound up admiring the movie for its ambition while unsatisfied with its achievement.
  5. The Wedding Plan
    The Wedding Plan feels less like “My Big Fat Jewish Nuptials” and more of a faith-based variation on a Disney princess fantasy. Instead of a fairy godmother, God himself will find her Mr. Right.
  6. The Wall
    Where The Wall excels is in the creation of an extra-untantalizing desert atmosphere. The dust is practically inhalable, the sunlight glaring, and the characters grow ever more sand-gritted with each mishap.
  7. Paris Can Wait
    Lane, still an incandescent knockout at 52, continues to pull off expressing sensuality and sexiness better than most actresses of any age.
  8. Lowriders
    Lowriders may spell too much out with obvious dialogue, and it may veer a bit too easily toward melodrama. But there’s an earnestness and a fundamental truth to this familial saga—as well as an appealing, low-budget scrappiness—that consistently make it hum.
  9. The Drowning
    The problem with The Drowning isn't that the characters are insubstantial, but rather that they don't dry up and disappear fast enough.
  10. Manifesto
    The film is thought-provoking, visually arresting, and occasionally very self-important.
  11. Snatched
    It’s a mismatched-buddy comedy. It’s a fish-out-of-water comedy. It’s a raucous girl-power comedy.
  12. King Arthur: Legend of the Sword
    The result is an oxymoron: a frenetic slog. That’s unfortunately what happens to King Arthur: Legend of the Sword.
  13. Another Evil
    At some point, queasy horror-comedy Another Evil stops being about one man's comically vain attempts at exorcising his home, and starts being a weird character study about a laughably desperate wannabe exorcist.
  14. Chuck
    Chuck ultimately works, mainly because Schreiber is so watchable. There's something compelling about seeing a man who is so strong and so weak, simultaneously. You like him in spite of him.
  15. Julian Schnabel: A Private Portrait
    Directed by Pappi Corsicato and executive produced, typically, by the subject himself, the movie is never uninteresting but is often surprisingly low-energy and, even more surprisingly, visually drab.
  16. Burden
    He was a real artist and, especially if you believe that art is all about asking questions, about life and about art, he was a great one.
  17. 3 Generations
    Takes on the topic of gender dysphoria with a talented cast but not much to say.
  18. Take Me
    What it really is is a screwball comedy with a black-hearted center, an energy extremely difficult to capture and maintain, but Healy—as actor and as director—manages to do so.
  19. The Dinner
    An incredibly frustrating movie, almost purposefully so.
  20. Risk
    The film is not one for any viewer who’s never heard of Assange. Indeed, it’s best suited to audiences who are familiar with the basic Wikileaks saga and thus prepared for Poitras’ much more intimate and nuanced view of events and personalities that the mainstream media tend to present in more reductive terms.
  21. Baahubali 2: The Conclusion
    It's loud, it's gory, and there are musical numbers. Behold, the first great summer film is here, and it's a three-hour-long action-adventure about a leader whose heroic deeds make Conan the Barbarian look like a wimp.
  22. The Lovers
    The wisdom of this meticulously crafted film is in its genuine irony, which amplifies steadily throughout until culminating in a moment of real heartbreak that, ironically enough, only sets the stage for a cycle of deceit to begin again.
  23. Last Men in Aleppo
    It’s an unflinching depiction of life in a vulnerable city, a place where innocents are constantly under attack, and the few people doing their best to protect it.
  24. Guardians of the Galaxy Vol. 2
    “Vol. 2” avoids many of the flaws of the first movie, and does several things notably better. It’s fun, clever and a great kick-off to the summer movie season.
  25. Rodney King
    This is Smith's show, and it's all about the writing here, with Smith serving more as a town crier, an information delivery device in human form.
  26. Voice from the Stone
    For far too long, nothing especially creepy or unsettling happens on screen.
  27. Rupture
    It’s not involving; it’s not scary; it’s just kind of miserable.
  28. Small Crimes
    Small Crimes works in part but is strangely murky in others. There's a lot of dead air. It's the pettiness, the small-ness of the characters that makes the greatest impression.
  29. Natasha
    The real draw of Natasha is without a doubt its young, charismatic lead Gordon, who portrays an emotionally tarnished young woman’s complex journey with a cool kind of unaffectedness. She effortlessly brings out the best and most mysterious in Bezmozgis’ unassuming little film.
  30. One Week and a Day
    In the long list of movies about death, this is one of the most original in recent memory, if for its emotional delicacy in sparing us hollow, tear-gushing grandiosity, and for its attitude on life: In most movies about grief, you are waiting for the characters to cry. This is a marvelous story about loss in which you are waiting for them to laugh.
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