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. Me, I just think it blows. What does it matter if you spend millions on a movie - love the talking, battling bears! - if the effects are cheesy, the story runs off on tangents and after watching the movie fail utterly to be the next Lord of the Rings, you just want to go home.
  2. Simplicity -- four-square, not sappy -- is rare in film. James C. Strouse had it in his script for Lonesome Jim. As writer and first-time director, he gives Grace Is Gonethe quiet power to sneak up and floor you.
  3. There's a special kick that comes in finding a new star. So step up, Ellen Page, and take your bows.
  4. The movie will wipe you out. Schnabel's previous two films (Basquiat, Before Night Falls) also focused on artists. But this is his best film yet, a high-wire act of visual daring and unquenchable spirit.
  5. With the help of acting giants, Jenkins turns The Savages into a twisted, bittersweet pleasure.
  6. Langella delivers a master class in acting. He's playing Leonard Schiller, an aging author aching from the loss of his wife, a weak heart and literary neglect.
  7. Not since Julie Andrews rode an umbrella to glory in Mary Poppins has Disney given us such a real-life doll (Amy Adams).
  8. So what if nothing is revealed. Todd Haynes is a mischievous visionary who puts the music and the myth of Bob Dylan before us in I'm Not There and dares us not to revel in the troubadour's poetic, contentious, ever-changing essence. It's a feast for the eyes, the ears and the Dylanologist scratching around our minds and hearts.
  9. Zemeckis springs so many pow 3-D surprises you'll think Beowulf is your own private fun house.
  10. Dissenters who see this film as a wallow in self-absorption aren't paying attention. Baumbach is acutely attuned to the droll mind games of smart people who only think they're impervious to feeling.
  11. Joel and Ethan Coen's adaptation of Cormac McCarthy's 2005 novel is an indisputably great movie, at this point the year's very best.
  12. Call it the black "Scarface" or "the Harlem Godfather" or just one hell of an exciting movie.
  13. At its relaxed best, when it's about, well, nothing, the slyly comic Bee Movie is truly beguiling.
  14. A dynamite film that ranks with the year's best.
  15. Carell shows a whole new side to his talents.
  16. Gone Baby Gone is full of dark secrets, and how they unravel will keep you glued.
  17. What a cast, indeed. And what a bust as persuasive drama.
  18. Even the best actors -- and I'd rank Joaquin Phoenix and Mark Ruffalo among their generation's finest -- can't save a movie that aims for tragedy but stalls at soap opera.
  19. Del Toro is the movie's force field. This is a performance you will not forget.
  20. Cate Blanchett can do anything, even play Bob Dylan, but she can't save this creaky sequel to her star-making 1998 biopic of Elizabeth I.
  21. We Own the Night is defiantly, refreshingly unhip.
  22. It's Corbijn, shooting with a poet's eye in a harshly stunning black-and-white, who cuts to the soul of Ian's life and music. You don't watch this movie, you live it.
  23. Deliberate, demanding and character-driven, Michael Clayton flies in the face of what sells at the multiplex. I couldn't have liked it more.
  24. All the acting is exemplary. Brody, new to Wes' World, is revelatory as Peter.
  25. Matthew Michael Carnahan's caffeinated script isn't much concerned with balance, but it gets some anyway, from the resonant images of culture clash that Berg catches on the fly and a remarkable performance from Ashraf Barhom.
  26. Lee is a true master, and his potently erotic and suspenseful Lust, Caution casts a spell you won't want to break.
  27. Penn, in tandem with the superb cinematographer Eric Gautier (The Motorcycle Diaries), captures the majesty and terror of the wilderness in ways that make you catch your breath.
  28. Artfully exciting and compulsively watchable even at a butt-numbing 152 minutes, the film makes good on the promise New Zealand writer-director Andrew Dominik showed with "Chopper" in 2000.
  29. To call it trippy would be an understatement. Your head might explode. Just don't accuse Taymor of playing it safe.
  30. In Eastern Promises, shot to envelop by the great Peter Suschitzky, Cronenberg brings us face to face with the horror of self.
  31. The haunting, heart-piercing Elah isn't perfect. It's something better: essential.
  32. In updating Shakespeare’s "The Tempest," writer-director Mike Cahill focuses on the magic worth finding between a father and daughter. That’s why the film sticks with you. It’s a gift.
  33. Foster is electrifying as ego and id clash and the movie fires up with genuine provocation.
  34. Maybe this redo didn’t need so many bells and whistles, but Mangold brings it home.
  35. Want to know what the “right stuff” really is? Take a look.
  36. This wet dream for action junkies leaves out logic and motivation --you know, all the boring stuff.
  37. It helps that the fun doesn't stop. It helps even more that the pitch-perfect script doesn’t step out of character for a joke.
  38. Who would have guessed that a documentary about gamers obsessed with scoring a world record at Donkey Kong would not only be roaringly funny but serve as a metaphor for the decline of Western civilization?
  39. Buscemi makes this pathetic and potentially lethal shutterbug a figure of surprising humor and compassion.
  40. The movie is thunderously exciting, but what makes it resonate is the wrenching story we read on Damon's face. We've waited all summer for a wild ride to grab us with more than jolts. Now it's here. Hang on.
  41. I laughed, then I wished it was funnier, then I just wished it would end.
  42. Homer even jokes that it takes a sucker to pay for a show you can get for free on TV. D'oh! That hurts.
  43. It's hard to resist the film's exuberance.
  44. No comedy this year can beat this dud for mealy-mouthed hypocrisy.
  45. Stick with it for Miller’s gutsy tour de force and the kick of watching Buscemi, as actor and filmmaker, turn an experiment into a mesmerizing battle of wills.
  46. It will hook you good and keep you riveted.
  47. In a summer of dumb, shameless drivel, Moore delivers a movie of robust mind and heart. You'll laugh till it hurts.
  48. What makes Ratatouille such a hilarious and heartfelt wonder is the way Bird contrives to let it sneak up on you.
  49. Susan Minot’s resplendent novel of a dying woman…stumbles on its way to the screen.
  50. Gets the action job done and you better believe that Bruce is still the man.
  51. Heebie-jeebies are guaranteed.
  52. It's Carell who projects the movie's only sense of mischief. But it's too little and too late.
  53. The film belongs to Jolie. She won an Oscar for 1999's "Girl, Interrupted," but this is by far her best performance.
  54. It's a movie as timely as it is thrilling to watch.
  55. The perfect summer movie, that is if you're eight years old or under. For the rest of us, the sequel to the first "Fantastic Four" that miraculously amassed more than $150 million in 2005, is a plotless, brainless, witless bore.
  56. Director Andrew Currie is better at laughs than scares, but he can’t sustain either as Fido runs out of steam in the final stretch. Till then, it’s fiendish fun.
  57. Brad Pitt doesn't really act in Ocean's Thirteen, he just glides through the third chapter in Steven Soderbergh's heist-flick annuity on the magic carpet of his own unimpeachable cool. Don't knock it. Genuine star power is rare. Pitt has it in spades -- all aces.
  58. Dahan's impressionistic heartbreaker of a movie gets it all in. And Marion Cotillard, lip-syncing Piaf's songs and digging into her soul with gale-force urgency, gives a performance for the ages.
  59. Rogen and Heigl step up to the plate with a tougher task from Coach Apatow: Nail every laugh and the emotions underlying them. No worries. They knock it out of the park.
  60. Listen to me: trash can surprise you. So don't get all elitist about the so-called cheap thrills in Mr. Brooks.
  61. For those who don't believe that truth trumps fiction for whacked-out depravity, mark this shockingly fierce and funny spellbinder as Exhibit A.
  62. The good news first: Keith Richards totally rocks it playing pirate daddy to Johnny Depp's Capt. Jack Sparrow. The deep rumble of his voice and those hooded eyes that narrowly open like the creaky gates of hell make him what the rest of this three-peat is not: authentically scary...So what's the bad news? Richards is onscreen for barely two minutes.
  63. What nearly saves the movie, besides the Rasmussen eye candy, is Paris itself, shot in shimmering black-and-white by the gifted Thierry Arbogast. Talk is cheap here, and often inane, but as a silent film, Angel-A could have been magic.
  64. Fiercely provocative, Paprika shames Hollywood’s use of animation as a kiddie pacifier.
  65. Director and co-writer Christopher Smith, mischievously blending "The Office" with "Friday the 13th," keeps things fierce and funny enough to give Steve Carell ideas.
  66. There's no disguising the fact that Shrek the Third has come down with a bad case of sequelitis. You know the symptoms: Lots of razzle-dazzle to distract from the hole at the center of the story. You know, the place where fresh ideas should be.
  67. It's a magical, beguiling wonder.
  68. Hold on for a hell of a ride.
  69. All the acting is first-rate -- Dukakis gives major dimensions to a supporting role. And Christie, a Sixties screen goddess in "Darling" and "Doctor Zhivago," shows that her spirit and grace are eternal. She's a beauty. So is the movie.
  70. There are delicious bits aplenty in Spider-Man 3 for those who care to notice.
  71. This sweetheart of a comedy boasts a hilarious and heartfelt performance by Keri Russell.
  72. It's a blast.
  73. Just because a movie is freakin' preposterous doesn't mean it can't be diabolical fun. Case in point: Fracture.
  74. To call the animation crude would be high praise. But they succeed enough of the time to make a perversely entertaining movie.
  75. A dull, dumb and unforgivably dated thriller, free of thrills and any kind of perfection.
  76. The intensity of Leto and Hayek goes deeper than the script into revealing what makes these two sociopaths in heat impervious to bloody murder. When Hayek and Leto are onscreen, you do not look away.
  77. Cool stuff. Cool movie.
  78. By stooping low without selling out, this babes-and-bullets tour de force gets you high on movies again.
  79. Gere gives 'em the old razzle-dazzle with his roguish charm and sharp comic timing. The surprise is the unexpected feeling he brings to this challenging role.
  80. You'll have major fun at this movie. But what makes it something special is the way Kasdan laces the laughs with a sting.
  81. Just for starters, no movie about the Dutch Resistance during World War II has any right to be this wildly entertaining, not to mention this provocative and potently erotic.
  82. The villains, an incestuous brother and sister played by real-life marrieds Amy Poehler and Will Arnett are a hoot. And "Office" honey Jenna Fischer is welcome as Jimmy’s love.
  83. The Lookout is Frank's show. He's crafted a haunting and hypnotic film that transcends pulp by creating characters that get under your skin.
  84. Suspended over a deep gully of disbelief, where logic takes more bullets than the bad guys, Shooter still makes the grade as hard-ass action escapism.
  85. Veering between sentimentality and exploitation with a few misguided stops at raunchy sex farce, Reign Over Me never finds a tone to suit its purpose.
  86. Documentarian Alexandra Lipsitz believes that air-guitar competitions are worth a whole feature-length movie. She's wrong, of course. But the fun lasts longer than you might think.
  87. If you can't watch John Malkovich being John Malkovich, it's still a kick watching him play Alan Conway, a gay Brit who pretended to be the legendary and reclusive director Stanley Kubrick during the 1990s.
  88. Mixing Rock with ooh-la-la turns out to be as appetizing as chalk and cheese.
  89. The real horror here is watching Sandra Bullock drop her big Miss Congeniality smile to A-C-T! She does this by not smiling. What happened to the range she showed in "Crash" and "Infamous?"
  90. 300
    300 is a movie blood-drunk on its own artful excess. Guys of all ages and sexes won't be able to resist it.
  91. Is it that scary? Yes. Will it reduce you to quivering jelly? Oh, my, yes! Does it bust the bonds of the Godzilla formula to fuse fright with feeling? Better believe it, dudes.
  92. This is a generational family saga everyone can relate to, and Nair gives it her special magic.
  93. Jokes dying on the lips of these easy riders are hard to stomach.
  94. Unique and unmissable.
  95. Offensive on multiple levels -- if only the plot had any levels at all -- Black Snake Moan leaves no "Tobacco Road" cliche unsmoked. Ricci gives it her all, and then some, but even her body and Jackson's blues can't heal a movie that rockets plum off its nut.
  96. Jolly good show.
  97. In this steadily gripping hothouse of a thriller, it's Cooper -- funny, fierce and bug-wild -- who gives us a look into the abyss.
  98. The real evil in this flick isn't Blackheart (Wes Bentley), the devil's son, it's the soul-sucking devil of modern cinema: Hollywood formula.
  99. Gray says she hates fishermen who catch and release: Getting jerked around hurts the jaw. See this movie and you'll know the feeling.
  100. Best consumed with pizza and lots of brewskis, Joe Carnahan's Smokin' Aces is shamelessly and unapologetically a guy movie. It's lewd, crude and loaded with shootouts and hot lesbo action.

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