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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. Coming Home in the Dark
    Coming Home in the Dark settles into the memory as a mesmerizing missed opportunity at worst, a promise of future classics at best.
  2. Black as Night
    It’s the kind of movie that might not be as charming if you’ve seen 100 vampire movies, but if you’re also curious about bloodsucker tropes, and the real-life world that surrounds its lead character, it has just enough of a soul.
  3. Bingo Hell
    Even with the poetic, vicious grin we can see from Brake’s gummy smile, feasting on the dreams of lovable people misguided by materialism, there’s far too little to fear, or think about.
  4. Mayday
    Despite a strong ensemble of actors and some impressive photography, Mayday drowns inside its own overambitions.
  5. The Many Saints of Newark
    The movie’s flabbiness, its unfocused flopping from scene to scene, its disinclination to provide any individual scene with any dimension beyond its immediate impact, practically vitiates the entire theme of Dickie’s ostensible mentorship of Tony Soprano.
  6. Arrebato (1979)
    Arrebato invokes cinema as an otherworldly entity that possesses, just as addictive and destructive as mind-altering substances injected into the bloodstream.
  7. Old Henry
    Eventually—about the time it demonstrates Henry’s expertise as a killer of men, in several well-done action mini-sequences—we learn the details of Henry’s past, and your overall enjoyment of the movie may hinge on whether or not you’re willing to, as they say, go with it.
  8. Diana: The Musical
    Despite a few musical bright spots, you’ll leave humming the costumes.
  9. The Addams Family 2
    This sequel makes up for some of the problems with the 2019 "Addams Family" animated family film, which suffered from an uneven tone and a meandering storyline.
  10. Venom: Let There Be Carnage
    Venom: Let There Be Carnage is zippy and breezy.
  11. No One Gets Out Alive
    No One Gets Out Alive builds its suspense through scares both real and supernatural. While I’m less satisfied with its ultimate execution, Jon Croker and Fernanda Coppel's script has a lot going in its favor.
  12. 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.
  13. The Most Beautiful Boy in the World
    The Most Beautiful Boy in the World isn’t a perfect watch, and it's often confusing and confounding. But it gets at the heart of this forlorn figure, a once idol turned tragic Greek hero. It’s unflinching, and one of the most honest portraits of the pitfalls that can happen in child stardom.
  14. El Planeta
    A mother-daughter bond shines through stark black-and-white cinematography and surreal humor in El Planeta.
  15. Surge
    Still see this film, but see it for what it is: a ferocious showcase for Whishaw, who’s never been nervier, and a promising first feature from a filmmaker with energy to spare.
  16. East of the Mountains
    Character actor Tom Skerritt takes the lead for once in this gentle, melancholic drama about an older man who, while overwhelmed by suicidal thoughts, figures some things out for himself. Fans of David Guterson’s source novel will probably get it, but everyone else might need a moment to get the picture.
  17. Birds of Paradise
    Director Sarah Adina Smith has a gift for striking images and creating intriguingly spooky moods, bordering on gothic, but the plot is so overstuffed we hardly have time to even notice Jacqueline Bisset as the demanding director of the ballet group.
  18. Intrusion
    There are simply too many moments here in which the characters, who we are supposed to care about in some form, are conveniently dumb.
  19. This Is the Night
    Such a spectacular misfire on every imaginable level—and even some you haven’t begun to imagine—that there are times when one might mistake it for an especially clever and relentlessly deadpan satire of the type of film it's desperately trying to evoke.
  20. Everybody's Talking About Jamie
    As far as coming-of-age musicals go, Everybody’s Talking About Jamie sends a charming, feel-good message of self-acceptance.
  21. The Mad Women's Ball
    The Mad Women's Ball is part psychodrama and part melodrama, and it wears those mantles proudly and confidently. Each scene throbs with urgency and emotion. Nothing is unimportant. At the same time, the film is highly controlled, with a taut assured script.
  22. Prisoners of the Ghostland
    No movie with Nicolas Cage, directed by the wonderfully weird Japanese director Sion Sono, should be this taxing, drawn out, and plainly boring.
  23. Civil War (or, Who Do We Think We Are)
    This movie will be of particular interest to students who want a lively, thoughtful presentation of basic historical subjects but aren't going to get it in classrooms where the curriculum is approved by people who are mainly concerned with avoiding discomfort and preserving the status quo.
  24. The Nowhere Inn
    Plenty watchable and inspired from a visual standpoint, The Nowhere Inn is a less refined and less provocative relative of Joanna Hogg’s The Souvenir, Brady Corbet's Vox Lux, or Robert Greene’s Kate Plays Christine.
  25. My Name Is Pauli Murray
    It does what all good documentaries do: it made me want to read up and be educated more on its subject. And what a great and inspiring subject Pauli Murray is.
  26. Blue Bayou
    Blue Bayou is sunk, on occasion, by its own symbolism, and how it wields said symbols. It's not enough to use a symbol visually, and let the audience put two and two together. A character needs to have a long monologue where they explain the symbol and pontificate on how the symbol is relevant to the circumstances.
  27. Copshop
    The shoot-'em-ups are consistently “whoa!”-eliciting, and while you couldn’t call any of the plot twists genuinely unpredictable, they do not lack for intrigue.
  28. Wife of a Spy
    There’s a great—or maybe just better—drama somewhere in the pre-WWII Japanese period drama Wife of a Spy, a low-simmering psychological thriller about Satoko Fukahara (Yu Aoi) and her mysterious husband Yusaku (Issey Takahashi).
  29. Lady of the Manor
    The screenplay is painfully incompetent, the comedy is puerile, and the direction limps along like a set of disconnected skits, with no sense of pacing or rhythm. It is genuinely painful to see some of the most talented and appealing actors in Hollywood, including Justin Long himself, wasted in a movie that shows such a lack of respect for the audience.
  30. Bergman Island
    The finish line in Bergman Island is of the opaque kind. But anything else would have done Hansen-Løve’s wistful sleepwalk through memory, time and cinema injustice. Her film is less a direct, clear-cut homage to Bergman, and more a searching exploration of reality and art in the way they mirror, propel and feed on one another, washing ashore remembrances both dreamy and lifelike.
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