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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. Night Teeth
    There's an overriding desire throughout Night Teeth for it to be an L.A. story, especially in how its context involves snide comments about how the bloodsuckers run Hollywood. But the movie becomes obnoxiously superficial itself, perhaps most obviously when it includes Megan Fox and Sydney Sweeney, its two biggest stars, for maybe five minutes of screen-time.
  2. A Cop Movie
    A Cop Movie, directed by Alonso Ruizpalacios, is exceptionally challenging to begin with. As the movie unspools, and the layers of its production become clearer, we understand the challenge is the movie’s entire objective—up to a point.
  3. Labyrinth of Cinema
    Labyrinth of Cinema is tremendously affecting, frequently beguiling, usually exhausting, and on, and on, and on.
  4. The Blazing World
    The Blazing World falls short narratively and visually, not leaning hard enough into its stylistic possibilities to leave an impression past its opening credits. It’s fantasy for the sake of therapy, and there’s no romance or joy here in imagining a better realm.
  5. Falling for Figaro
    It’s a testament to Macdonald and Skinner that they inject chemistry into their characters’ underwritten pairing. Their performances are what make “Falling for Figaro” an entertaining distraction, even as the film plays out exactly as you would expect.
  6. Freeland
    It’s a contemplative film that manages to whisk the audience away to an unfamiliar land whose off-the-grid survival you can’t help but root for.
  7. Introducing, Selma Blair
    It’s impossible to watch Introducing, Selma Blair and not feel deeply moved.
  8. Luzzu
    Luzzu is a moving portrait of a world in flux, and one man attempting to survive the changes thrust upon him by a baffling outside world.
  9. Son of Monarchs
    Son of Monarchs, which is driven by mood as much as it is a metaphor that it can’t get enough of, embodies the equal ambition and shortcomings of a writer/director trying feel their way through science, while having as minimal a narrative as possible.
  10. Needle in a Timestack
    As it turns out, this literary curiosity proves to be far more interesting than the finished film, which takes an undeniably interesting premise and then fails to make good use of it.
  11. Golden Voices
    This is very evidently a personal story for the people who made it, a heartfelt note of thanks for the fresh start they found in their new home, and for all fresh starts and the people with the courage to find them.
  12. Detention
    Making his directorial debut, Hsu clearly has an eye for striking imagery, and Detention is filled with moments of shuddering, abstract beauty. But his ghost story never quite materializes from its uncanny ether.
  13. Halloween Kills
    This film muddies its entire concept with a bizarre, unrefined commentary on mob mentality that is quite simply some of the worst material in either Green’s career and the history of this rocky franchise (which is saying something if you’ve seen, say, Halloween 5: The Revenge of Michael Myers).
  14. Operation Hyacinth
    Had this been made back in the 1940s, it would have fit nicely in the same genre as Detour or The Maltese Falcon. It has a streak of hopeless nihilism that’s characteristic of the finest noir.
  15. The Velvet Underground
    This is a dazzling film—not just one of Haynes' best, but possibly the one that his whole career, with all of its self-aware formal and historical experiments, has been building toward.
  16. The Last Duel
    While Gladiator and Kingdom of Heaven throbbed with purposeful vitality, pictures such as Robin Hood and 1492: Conquest of Paradise seemed to lack much of a reason for being. Scott’s The Last Duel may not be perfect but it never exhibits such inertia.
  17. Live at Mister Kelly's
    Even though the film is ultimately not much more than an exercise in nostalgia, that's hardly a bad thing when you're delving into a past as rich as the one on display here.
  18. Wheel of Fortune and Fantasy
    Wheel of Fortune and Fantasy is a love letter to the art of spinning a good yarn, but it’s also a sharply observed paean to the lies and truths we tell ourselves so that we may function from day to day.
  19. Mass
    This is a difficult movie to sit through, not just because of the subject matter, but because it's so honest in dramatizing how people process tragedy and carry it through life.
  20. Convergence: Courage in a Crisis
    What Convergence reinforced for me, more than anything, is simply the overwhelming gratitude I have for every essential worker who took my temperature, bagged my groceries and drove me to my desired destination over the past twenty months.
  21. The Rescue
    It would be impossible not to be emotionally moved by this story, and in that way, The Rescue delivers. But between Vasarhelyi and Chin’s inability to speak with the boys or their families, and the documentary’s initially languid pacing, The Rescue feels like half a story told fairly well, but still, half a story.
  22. Knocking
    Kempff immerses her audience into her character’s tortured headspace, like a tragic hall of mirrors that seems endless.
  23. The Manor
    The premise isn’t thoroughly uncomfortable so much as it is simply tedious; Barbara Hershey’s focal character Tabitha is made to appear more and more helpless in the film’s scant psychological thrills, and yet we’re stuck with a flat anxiety for a feature's length.
  24. Madres
    Calling a movie like Madres by-the-numbers would be a compliment, and an overstatement, because that would indicate that the makers were even mildly successful.
  25. Ascension
    As engrossing as it’s alarming, the documentary flows with a stream of consciousness about the illusion of the “Chinese Dream.”
  26. South of Heaven
    Written and directed by Aharon Keshales, whose debut (2010's Rabies) was an attention-getting nail-biter, South of Heaven—with a couple of exceptions—is inert and unimaginative.
  27. Lamb
    While it’s not a thoroughly satisfying stew of style and substance—plus, it could’ve used some sharper scares—Lamb nonetheless leaves a unique enough aftertaste for one to crave more of the same distinctive weirdness from Jóhannsson in the future.
  28. There's Someone Inside Your House
    Maybe this is a product of the movie’s nature as an adaptation, but there’s never really a moment in There’s Someone Inside Your House that suggests its protagonists are real enough to be worth rooting for.
  29. V/H/S/94
    The resulting V/H/S/94 falls victim to the traditional unevenness that is common to anthology horror but with more hits than misses, and a general air of unhinged joy for the genre that these films often lack.
  30. Titane
    Titane, this year's Palme d'Or winner at the Cannes Film Festival, is an extreme movie, violent and pitiless and funny, but the space it provides for not just tenderness but contemplation makes it an "extremely" thought-provoking film as well.
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