Rolling Stone's Scores

For 4,534 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Wolf of Wall Street
Lowest review score: 0 Joe Versus the Volcano
Score distribution:
4534 movie reviews
  1. Jolie comes to this party ready to bite, but the movie muzzles her. Even at 97 minutes, Maleficent is still one long, laborious slog.
  2. Get ready to squirm. Be sure to seek out this twisty and terrific sleeper in theaters or on VOD. It's a real find.
  3. Step up, cynics, and see the summer 2014 blockbuster that gets damn near everything right.
  4. What sounds like undiluted melodrama with the hounds forever nipping at Ewa's heels is transformed by Gray into a mesmerizing meditation on the broken American promise.
  5. Hamm is first-rate, his nuanced portrayal lifting the movie to the winner's circle.
  6. Seeing the scaly dude side with Mother Nature against the freaks is almost worth enduring the blather that precedes it. I said "almost."
  7. Buoyed by a Latin-flavored score and Favreau's knack for improv inspiration, Chef is the perfect antidote to Hollywood junk food. Like the best meals and movies, this irresistible concoction feels good for the soul.
  8. Fed Up has a fire in its belly to change things. Naïve? Maybe. So what. I say, Godspeed. Here is something rare at the multiplex: a movie that matters.
  9. A hypnotic movie of harsh truth and healing compassion. It sticks with you.
  10. You expect hardcore hilarity from Neighbors, and you get it. It's the nuance that sneaks up on you.
  11. Things go wrong quickly with Amazing 2. Am I the only one who hates the word Amazing to describe a movie that isn't? Just asking. If I had to pinpoint where this epic goes south, I'd start with the tonal shifts.
  12. All I can cull is: don't mess with Mother Nature and absolute power corrupts absolutely. Fortune-cookie stuff. Erase All.
  13. It's a powerhouse of claustrophobic suspense and fierce emotion, mostly because Tom Hardy, best known as Bane in "The Dark Knight Rises," is a blazing wonder as Locke.
  14. Jarmusch, as ever, has the power to sneak up on you. He's a spellbinder. The same goes for his movie.
  15. Joe
    Sheridan, so good in "Mud" with Matthew McConaughey, excels here as a vulnerable sapling.
  16. A brave experiment in cinema that richly rewards the demands it makes. The result is an amazement, a film of beauty and shocking gravity.
  17. With raw shock and a riveting Uma Thurman absent this time, Nymphomaniac: Volume II is a metaphoric limp dick.
  18. Captain America: The Winter Soldier is every rousing, whup-ass thing you want in an escapist adventure.
  19. The Raid 2 lets its warriors rip for two and a half thrilling hours. With the precision of dance and the punch of a KO champion, Evans keeps the action coming like nobody's business. The wow factor is off the charts.
  20. Hold off on burning Aronofsky at the stake till you see Noah, a film of grit, grace and visual wonders that for all its tech-head modernity is built on a spiritual core.
  21. Except for Kate Winslet's fearsome turn as a villain, the only terror Divergent roused in me was that the drag-ass thing would never end. Sorry, I'm a Candor.
  22. After the delicious treat of 2011's "The Muppets," with Jason Segel and Amy Adams joining Kermit, Miss Piggy and the gang, Muppets Most Wanted feels like tasteless leftovers.
  23. I refuse to render a final verdict on the latest cinematic outrage from Danish provocateur Lars Von Trier until Volume Two drops its undies on April 18th. But I will say this for Volume One: It's a mesmerizing mind game.
  24. It's Bell – riding high with the Disney-animated "Frozen" and Showtime's carnal-fixated "House of Lies" – you want to follow anywhere. Bell is irresistible, and she makes us care.
  25. There's nothing to distract you from a plot so tired there are tire tracks from other racing movies all over it.
  26. Bad Words, starring Jason Bateman in a tour de force of comic wickedness, takes sinful pleasure in rubbing our noses in the toxic joys of revenge.
  27. The ending is a TVish cop-out. But until then, watching Wood sweat emerges as a pulse-pounding experiment in terror.
  28. His (Anderson) abiding love for a vanished past, real and imagined, is at the core of The Grand Budapest Hotel. The thrill comes in watching as this rare talent gives his movie wings.
  29. Luckily, Non-Stop has a way-above-average cast for this kind of nonsense.
  30. So cheers to a movie as gloriously entertaining and bluntly honest as the lady herself. Everybody rise.
  31. This movie, with its flashbacks to past sins and traumas, rests squarely on Berry, a mesmerizer who makes every moment count.
  32. It's a big story, and in this landmark film Miyazaki is up to every demand. Sit back and behold.
  33. Brazilian director José Padilha (Elite Squad, Bus 174) soldiers on stolidly, but lacks the Dutch Verheoeven's abiding sense of mischief.
  34. Winter's Tale is preposterous twaddle.
  35. This Endless Love is a photo shoot, not a movie. It'd play better as a slideshow of jpgs. Even nine-year-old girls ought to cry foul on this movie's endless blandness.
  36. Hart is a comic fireball. Don't leave till after the final credits when he and Hall bust a few more hilarious improv moves.
  37. A wickedly smart and funny free-for-all, and sassy enough to shoot well-aimed darts at corporate branding.
  38. One idea, mixed with lame jokes, and stretched beyond coherence. Vampire Academy doesn't need a review. It needs a stake in the heart.
  39. A stimulating detective story that holds you in thrall.
  40. The compensation comes in the three lead actors, all way too good for the material dished out by writer-director Tom Gormican.
  41. The pie looks delicious, but Labor Day feels stale.
  42. Who knew? The work of the Monuments Men is fresh territory for film, and Clooney builds the story with intriguing detail and scope.
  43. Like his characters, Guiraudie is walking a tightrope, finding the point where sex and death exude a similar allure. You won't be able to look away.
  44. Propaganda is a bitch to act. And this misguided movie leaves Hudgens buried in it.
  45. A collection of moldy gags that director Tim Story tries to polish. Not with these turds, pal.
  46. Jack Ryan: Shadow Recruit has no personality of its own. It's a product constructed out of spare parts and assembled with computerized precision. It's hard to care when Jack turns operational and becomes a CIA robocop. The movie feels untouched by human hands.
  47. Like the best war movies, Lone Survivor laces action with moral questions that haunt and provoke.
  48. In his uniquely funny and unexpectedly tender movie, Stiller takes us on a personal journey of lingering resonance.
  49. Watching De Niro and Stallone piss all over their most iconic roles provides no pleasure. It made me feel – Sad. Sad. Sad.
  50. The acting styles of Streep and Roberts, both Golden Globe nominees, don’t exactly mesh, but they’re a hoot.
  51. Bejo (The Artist) digs deep into the secrets and lies that have afflicted all her relationships, in a wonderfully affecting film that haunts you long after it ends.
  52. Her
    Jonze is a visionary whose lyrical, soulful meditation on relationships of the future cuts to the heart of the way we live now.
  53. When is a movie fall-down funny even when some scenes fall flat on their fat ones? When it's Anchorman 2: The Legend Continues.
  54. DiCaprio's swaggering, swinging-dick performance is the wildest damn thing he's ever put onscreen.
  55. A tasty swig of holiday cheer.
  56. For some, the silver linings in Russell’s movies represent a failure to embrace darkness. I see them as a humanist’s act of resistance. That’s why American Hustle ranks with the year’s best movies. It gets under your skin.
  57. But, oh, that dragon. I'd endure another slog through Middle-Earth just to spend more time with Smaug.
  58. One thing's for sure about this raw provocation from the Coens: Like the music, the pain runs deep and true. You'll laugh till it hurts.
  59. It's the bruised history of these brothers that gives Out of the Furnace its beating heart and the power to grip you hard.
  60. A long slog of a movie that insists on hitting the high spots like a Wiki page, which leaves little room to investigate the political and personal changes that altered Mandela's thoughts about violence and its uses.
  61. The animation is pretty, the songs are tuneful, and Josh Gad gets big laughs as Olaf, a snowman with a sun fetish. It's the holidays, people, work with it.
  62. What's onscreen feels squeezed, truncated and curiously embalmed. It's got no kick to it.
  63. It could have been crazy-good trash.
  64. It's Dench, showing how faith and hellraising can reside in the same woman, who makes Philomena moving and memorable.
  65. Delivery Man is one joke stretched to the breaking point. Mine was reached.
  66. Pop-culture escapism can be thrilling when dished out by experts. Katniss is a character worth a handful of sequels. And Lawrence lights up the screen. You'll follow her anywhere.
  67. Just try to take your eyes off Dern. In his finest two hours onscreen, he gives a performance worth cheering. There's not an ounce of bullshit in it. Same goes for the movie.
  68. With the help of Hamilton, Ross and Olmos, sublime actors who radiate grit and grace, Sayles has made Go for Sisters a movie that stays inside your head long after you see it. It's a keeper.
  69. Hirsch opens his heart to the role. And Dorff, matching the depth of feeling he showed in Sofia Coppola's "Somewhere," excels at digging deep into Jerry Lee's pain.
  70. An idol had fallen, and Gibney and the superb director of photography Maryse Alberti were there to capture the descent, including a confessional interview in which Armstrong blames the corruption of the game far more than himself. The movie rambles at two-plus hours, but the provocation never stops.
  71. The simplicity of Michael Petroni’s script seems a drawback at first. But skilled director Brian Percival (Downton Abbey) slowly, effectively tightens the vise as evil intrudes into the life of this child.
  72. This Thor sequel is way funnier than any movie subtitled The Dark World has a right to be (thanks, Hiddleston). And the blowout climax pitting Thor against Malekith and the elves is excitingly staged. It's just that waiting for the good stuff can be a real mood-killer.
  73. Like a doggie in a window, this romcom relentlessly wags its tail so you'll fall in love and take it home. Not this time, puppy.
  74. Special kudos to Freeman, who kills it on the dance floor and later while drunk off his ass on vodka and Red Bull. You'll groan as much as howl at the jokes, but the veteran stars have a ball acting their age. Even when all else fails them, they're good company.
  75. McConaughey makes sure we feel his tenacity and triumphs in the treatment of AIDS. His explosive, unerring portrayal defines what makes an actor great, blazing commitment to a character and the range to make every nuance felt.
  76. Blue Is the Warmest Color sweeps you up on waves of humor, heartbreak and ravishing romance.
  77. Is Knoxville going soft on us? Nah. Bad Grandpa is still the f***ed-up family movie of choice, especially if your family has done jail time.
  78. Oddly, the published screenplay – while far from McCarthy's top-drawer – reads better than it plays. What's onscreen recalls a line from No Country: "It's a mess, ain't it, Sheriff?"
  79. Sex, lies, betrayal and murder set among the gods of the Beat Generation. That's Kill Your Darlings, a dark beauty of a film that gets inside your head and stays there.
  80. Redford, who can play intelligence, wit and nuance to a camera like nobody's business, holds us in his grip. It's a master class in acting.
  81. The Fifth Estate is stuck running in place.
  82. Proving himself a world-class director, McQueen basically makes slaves of us all. It hurts to watch it. You won't be able to tuck this powder keg in the corner of your mind and forget it. What we have here is a blistering, brilliant, straight-up classic.
  83. It might have all been another Hollywood-formula flick with American might taking on the alien other. But Greengrass gives Phillips and Muse the time, aboard a covered lifeboat, to discover shared beliefs and fears.
  84. The actors hit the jackpot, but only in terms of their paychecks. The audience gets a tension-free, tight-assed, "Casino" ripoff that leaves them thoroughly fleeced.
  85. Sadly, what Parkland becomes is a crying shame.
  86. Sandra Bullock, in the performance of a lifetime, spends most of this wondrous wallop of a movie lost in space, alone where no one can hear her scream.
  87. If you’re looking for an orgasmic trip to heavy-metal heaven, this is it.
  88. Gordon-Levitt won't take safe for an answer. So Don Jon tends to stumble as it finds its feet. Still, you leave this movie feeling had at instead of had. The experience is elating.
  89. Thanks for Sharing is all over the place trying to find a tone, but it knows where its heart is.
  90. Some will write off Prisoners as shameless exploitation. But like Clint Eastwood's "Mystic River," to which it's been compared, Prisoners is so artfully shaped and forcefully developed that objections fade.
  91. It sounds like rom-com hell. And it would be if Gandolfini and Louis-Dreyfus weren't such an appealing pair of misfits. It's a pleasure just to watch them spar.
  92. It's Morgan's core script, full of humor, heartache and verbal fireworks, that lifts Rush above the "Fast & Furious" herd.
  93. Blue Caprice is a cinematic punch to the gut, a mind-bending meditation on how to mold a killer, and one of the most potent and provocative true-crime movies ever made.
  94. Robert De Niro – wait for it – in the role of a mobster. Now there's an original idea.
  95. Working from a script by the gifted Christopher Hampton (Dangerous Liaisons, Atonement), who seems to have traded his wit for a paycheck, Fontaine manages the trick of making sex joyless. Like porn. Then she tops that by draining her film of variety, longing and feminist insight. Like farce. Ouch.
  96. We also learn that five of his books, written in secret, will be published between 2015 and 2020. Can't wait to read them. Can't wait to forget this movie.
  97. An alternately kick-ass and clumsy piece of sci-fi claptrap that puts its empty head down and gets the job done.
  98. In fact, Bell the writer, director, producer and actress knows how to set a savvy trap. While we're laughing, she pulls the rug out, making us see Carol's world as a microcosm for the world every working woman lives in. That she does it with subtlety, humor and touching gravity marks Bell as a filmmaker to watch.
  99. What's on screen in The Grandmaster is off-puttingly disjointed, but it's also dazzling in its startling action and ravishing romance.
  100. Is a Brian DePalma movie that laughs at Brian De Palma movies still worth your time?

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