Rolling Stone's Scores

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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:
  1. Positive: 2,923 out of 4534
  2. Mixed: 982 out of 4534
  3. Negative: 629 out of 4534
4534 movie reviews
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  1. Tomb Raider
    Tomb Raider may be a less camp, more cunning take on the arts and Crofts that have made the brand a hit, but to call this a better-than average videogame movie is to damn it with faint praise. Don't hate the players. Hate the genre.
  2. Child's Play
    The gore, which is plentiful, grows repetitive and dull.
  3. The Idiots
    With shocking humor and surprising grace, Von Trier creates something unique and memorable.
    • Rolling Stone
  4. 21
    21 drags itself to a climax that puts credulity in splints. So what? In a multiplex of dumb-luck hits, it's a kick to watch Spacey and a gifted young cast use smarts to deal audiences a winning hand.
  5. Vertical Limit
    Pulls off thrilling stunts that will leave you a sweaty-palmed mess. It's top-tier movie escapism.
    • Rolling Stone
  6. The Core
    The Core -- with its by-the-numbers plot and performances -- isn't offensive, just unblushingly tacky and derivative.
  7. Orange County
    It's the new year's first happy surprise.
  8. Super Troopers
    Broken Lizard does it with a shit-faced integrity that's worth a salute.
  9. Bullet to the Head
    I can't detect the hand of Hill in even a single scene in Bullet in the Head. It plays like a Stallone vanity project, impure and stupefyingly simple.
  10. I'm Still Here
    Affleck's provocative, postmodern take on JP as half-joke, half-victim is the damnedest plunge into the dark heart of our "reality" culture since Sacha Baron Cohen invented Borat.
  11. Cat Person
    You can’t say that Cat Person is shy about taking the medium to task for selling a romantic ideal that’s more than a little curdled. If only it was this rigorous and incisive about the source material itself.
  12. The Girl on the Train
    That's Emily Blunt, and she is perfection, playing the hell out of this blackout drunk and adding a touch of welcome empathy.
  13. Angels & Demons
    The movie can be enjoyed for the hell-raising hooey it is.
  14. The Fantasticks
    Shot five years ago by director Michael Ritchie. No release until now. Uh-oh. Disaster? Pretty much.
    • Rolling Stone
  15. Shallow Hal
    For the first time, the Farrellys seem to be embarrassed by their own crudeness. For the first time, they should be.
  16. The Longest Yard
    What links the two films in fun and ferocity is the big game, a ripsnorter that is irresistibly entertaining.
  17. One Day
    This tear-jerking twaddle, adapted by David Nicholls from his 2009 bestseller, is nearly as bad as Anne Hathaway's British accent, which is heading for infamy.
  18. Tolkien
    A bit of a stiff as cinema, rich in atmospherics but starved for the human spark that might uncover the man behind the myth.
  19. The Perfect Host
    The dialogue is witty and spiked with delicious malice. At least it is when Pierce delivers it.
  20. Penelope
    Penelope is dead on arrival.
  21. Admission
    I'd see Tina Fey and Paul Rudd in anything, but this is pushing it. Admission is so slight that a breeze could flatten it.
  22. Paradise Road
    What should have been an affecting film becomes a rank blend of sentiment and sadism in the hands of Bruce Beresford, the Australian writer and director.
  23. Divine Secrets of the Ya-Ya Sisterhood
    Except for Ashley Judd, who shows true grit as Vivi in her babe days, the effect is like being buried in molasses. For guys whose pain threshold is way low when it comes to the bonding of Steel Magnolias, Ya-Ya is a definite no-no.
  24. Ant-Man and the Wasp: Quantumania
    Until some sort of creative second wind blows in, casual moviegoers and deeply invested fanatics may have to simply keep enduring overly familiar, frustrating placeholders like this. Quantumania revolves around a powerful villain who wants to control time. The movie itself is merely killing time.
  25. The Doom Generation
    It’s a savagely funny ride fueled by Araki’s insight and blunt compassion.
  26. The Call of the Wild
    Ford is at his droll, grumpy-old-man best, so he can do his own acting without having his emotions computer generated. At least for now.
  27. Don't Worry Darling
    By the time Darling‘s revelations are supposed to double as a call to revolution, you’re left with the sense that you’ve just witnessed the most well-designed, aesthetically pleasing angry tweet ever penned.
  28. I Feel Pretty
    But still: Is it really OK to get off making plus-size jokes just because you tack on a moralizing ending that teaches a lesson about body positivity? Can you have it both ways?
  29. The Mountain Between Us
    And just when you think this movie cannot get more unendurable ... it does. And then some. You can see every twist telegraphed from miles away even in a driving blizzard. The Mountain Between Us is epic all right – an epic waste of talent and your time.
  30. 17 Again
    Director Burr Steers, of the terrific "Igby Goes Down," is stuck polishing clichès.
  31. Buffy the Vampire Slayer
    Buffy isn't heinous, just disposable. As a friend tells Buffy while she eyes a fashion purchase, "It's so five minutes ago."
  32. The Proposal
    A romantic comedy so numbing it feels like Novocaine.
    • 48 Metascore
    • 30 Critic Score
    Lords of Chaos
    Somehow, though, he made a movie that, to paraphrase an album from the director’s former musical endeavor, has seriously missed the Black Mark.
  34. Godzilla: King of the Monsters
    The chance to see giant monsters go apeshit — a few more are added near the end — is almost worth the price of admission. Seeing, however, is part of the problem. Godzilla: King of the Monsters is often so lost in the shadows of digital muck that it makes the squinting chaos of the Battle of Winterfell in "Game of Thrones" look like a lightshow.
  35. Hard Ball
    The film takes a true story and drags it through a swamp of hyped-up Hollywood cliches.
  36. The Mummy Returns
    We have to suffer through two hours of this rancid summer cheese.
  37. xXx
    It's hard to hate a movie, even one this droolingly crass, that knows how to laugh at itself.
  38. Shark Tale
    It's stale, like something you wrap in yesterday's newspaper.
  39. A Love Song for Bobby Long
    It's the stunning location photography of camera ace Elliot Davis that provides what the movie itself lacks: authenticity.
  40. Hannah Montana: The Movie
    The most shocking thing here is the fact that Peter Chelsom directed it. His 1995 movie, "Funny Bones," is a genuinely transgressive piece of dark comedy. I can't detect a trace of Chelsom in Hannah Montana, which means he won't have to wear a blonde wig to hide his shame.
  41. Haunted Mansion
    A corporate I.P. Easter-egg hunt posing as a movie, this horror-comedy raids the House of Mouse’s resident spoooooky ride’s signature bits while nudging your ribs as aggressively as (in)humanly possible. Even for die-hard Disney fanatics, it’s still about as fun as waiting endlessly in line for something permanently closed for repairs.
  42. Being Charlie
    Many a road to movie hell is paved with good intentions. To that list of lost causes add Being Charlie, a well-meaning study of addiction that hits too many banal beats to snap us to attention.
  43. Fun with Dick and Jane
    Build a comedy around Jim Carrey in manic mode and they will come. Case in point: Fun With Dick and Jane, a pointless, painfully unfunny and yet inexplicably popular remake of the 1977 fizzle with Jane Fonda and George Segal.
  44. 3 Generations
    How do you screw this up? You've got three leading actresses – Susan Sarandon, Naomi Watts and Elle Fanning – who are usually worth watching in anything. But 3 Generations is pushing it. Even nurturing talent can't breathe life into a script that is completely D.O.A.
  45. Josie and the Pussycats
    Harmless girlie trifle. Or at least it means to be.
  46. The Guru
    Graham, back in the porn territory she aced in “Boogie Nights,” steals the show. In the winter doldrums, you don't kick at a movie that puts a smile on your face.
  47. In the Cut
    The result, sadly, is a mess.
  48. Fantastic Beasts: The Secrets of Dumbledore
    A moviegoer has to be a scholar in the now-convoluted cosmology that powers these Potterverse expansion-pack prequels or abandon all hope of understanding a fraction of what’s happening — and even a lot of die-hard Harryheads may find their hippocampus getting seriously taxed while trying to catch up.
  49. Regarding Henry
    What's lacking is emotional weight. It's sad to watch a talented cast, including Bill Nunn as Henry's physical therapist and Donald Moffat, Rebecca Miller and Kirby Mitchell as co-workers, selling bromides.
  50. A Good Year
    The scenery is glorious; you can almost feel the sunshine and smell the wine. But Crowe and Scott are bulls in Mayle's china shop. Like an assertive Burgundy served with a delicate fish, they're a classic wrong pairing.
  51. The Box
    What a shame that Kelly's pacing doesn't run as fast as his imagination. Instead of sweeping you along, The Box just sits there like something unclaimed at lost and found. Damaged goods.
  52. The Whole Nine Yards
    The film falls short; only Peet goes the whole nine yards.
    • Rolling Stone
  53. The Girl Next Door
    Director Luke Greenfield, the auteur behind "The Animal," starring Rob Schneider, wants to pass off this limp-dick farce as social satire. Ha!
  54. He's Just Not That Into You
    Here's a true S&M date movie. Only sadistic men and masochistic women could love it.
  55. The Matrix Revolutions
    At the risk of understatement, The Matrix Revolutions sucks.
  56. In the Heart of the Sea
    Only landlubbers would resist the rousing action of man versus leviathan. Sure it's old-school. So what. Howard puts heart, soul and every computerized whale trick in the book into crafting a seafaring adventure to rock your boat.
  57. Jennifer's Body
    Hot! Hot! Hot!
  58. Bad Teacher
    Bad Teacher keeps running away from its combustibly nasty premise. Damn shame.
  59. Frankie & Alice
    This movie, with its flashbacks to past sins and traumas, rests squarely on Berry, a mesmerizer who makes every moment count.
  60. Legally Blonde 2: Red, White & Blonde
    There's not enough here to sustain a half-hour sitcom, but Reese Witherspoon shoulders the burden with star shine to spare.
  61. Heartbreakers
    It's not a pretty picture, but it is a pretty funny one when Gene Hackman shows up as William B. Tensy, a Palm Beach tobacco tycoon.
  62. Burlesque
    It could have been the 21st-century Showgirls. I wouldn't have missed that for the world. Instead, Burlesque, starring Cher and Christina Aguilera playing drag queen versions of themselves with all the vitality of Madame Tussauds wax dolls, is a bust that lacks the pizzaz and bugfuck nuttiness of Paul Verhoeven's 1995 trash epic.
  63. A Cure for Wellness
    This is not so much a horror movie as a lookbook for one – an assemblage of scary-flick odds and ends slotted next to each other with the thinnest of connective tissue.
  64. Restless
    Wasikowska, from "Alice in Wonderland" to "Jane Eyre," is an actress of translucent expressiveness. And Hopper has his father's brooding intensity and a quicksilver humor all his own. They are both so good, I suggest you dive into the story unfolding in their eyes rather than the banal one in the script.
  65. Jack Reacher: Never Go Back
    Cruise finds the core of Reacher in his eyes, with a haunted gaze that says this lone wolf is still on a mission and still a long way from home. That's the Reacher Lee Child created in his books. And Cruise does him proud.
  66. The Dressmaker
    Kate Winslet can do anything ... except save this movie from quirky overkill.
  67. Lisa Frankenstein
    The only time sparks fly are when that restorative tanning bed crackles and sputters.
  68. Halloween Ends
    Halloween Ends is a curious and mostly effective mix of slasher antics and dramatically straight-faced themes. It’s a good enough slasher to provoke laughter in some of its grimmer moments, because the deaths are that ridiculous and the targets are sometimes, unfortunately, a little deserving.
  69. Where the Truth Lies
    This movie isn't over-the-top -- it doesn't know where the top is. Trash addicts will eat up every graphic minute, even if they prefer to wait for the DVD.
  70. The Shipping News
    The language is leaden, the pace glacial and the characters indecipherable. It's easier to read the actors -- they all seem eager to win an Oscar. Fat chance.
  71. The Legend of Bagger Vance
    Redford plays the game of filmmaking to reveal what he holds sacred: story, character, feeling, thoughtful pacing, and an alertness of nuances of honor and shame that most movies skip in the rush to the rush.
    • Rolling Stone
  72. The Last Shot
    Never achieves liftoff.
  73. Shall We Dance
    What's left is a lot of strenuous playacting when what's called for is the finesse of the Japanese original. Skip this stub-toed substitute.
  74. Midway
    Emmerich can crack the whip on computer pixels like nobody’s business. But in sacrificing a reckoning on the human toll of war for cardboard characterization and showoff fx, he’s left an empty space where the soul of the film should be.
  75. Young Guns II
    The first Young Guns, in 1988, was an endurance test for all but those who think ogling young actors in tight britches is a fascinating way to spend two hours. Though it seems impossible, the sequel is even more excruciating.
  76. I Saw the Light
    Hiddleston is not what's wrong with this movie. But damn near everything else is.
  77. The Hitman's Bodyguard
    Reynolds and Jackson make this summer lunacy go down easy with their banter and bullet-dodging skills. They're the only reason that The Hitman’s Bodyguard doesn't completely sink into the generic quicksand from whence it came.
  78. Primal Fear
    You'd get more of a jolt from Angela Lansbury on "Murder, She Wrote" and more intellectual stimulation from a cozy game of Clue.
  79. The Day After Tomorrow
    Don't ask whether or not you should take The Day After Tomorrow seriously. Don't take it at all.
  80. Hercules
    Director Brett Ratner could boast solid source material in the five-issue Radical Comics series Hercules: The Thracian Wars by the late Steve Moore. They had a shot at something here, and they blew it.
  81. Irresistible
    In a twist ending, Stewart leaves us wondering if gaming the system is preferable to changing it. Can a political satire that dances on the border between silly and profound really make us take off the blinders, even for a few hours?
  82. 27 Dresses
    So flimsy it gives froth a bad name.
  83. Boy Kills World
    The movie starts off as yet another Kill Bill, et al. clone. Thanks to its star, it at least goes out as something closer to Kill, Bill, Kill!
  84. Masterminds
    The movie has been on ice awaiting release for over a year, owing to the bankruptcy of its studio, Relativity. But some of the jokes were moldy long before that happened. Masterminds owes us our two hours back.
  85. Shock and Awe
    But at its best, Shock and Awe still feels like it strains to be Spotlight-lite and comes up lacking. The title feels like a misnomer.
  86. The Time Traveler's Wife
    I'd watch the vibrant Rachel McAdams and Eric Bana in anything, but The Time Traveler's Wife is pushing it.
  87. Black and White
    This lively mess proves that when Toback loses his head, he does it with style.
    • Rolling Stone
  88. Silver City
    The real action in Silver City happens on the fringes, where the mischief is. Daryl Hannah is spice incarnate as Dickie's sexy screw-up sister. Billy Zane plays a lobbyist with insinuating soullessness. And Dreyfuss feasts on the snappiest lines.
  89. Godzilla x Kong: The New Empire
    What this feels like is a second-generation copy of a copy, and one that suffers from the typical franchise law of diminishing returns. No one expects the reinvention of the MonsterVerse wheel, but it’d be nice to have something that isn’t more of the same and less than the sum of its I.P. parts.
  90. The General's Daughter
    Watching John Travolta ease into a role is always a pleasure, but this film version of Nelson DeMille's 1992 best-selling mystery novel is a lurid mess.
  91. The Giver
    Lowry took chances with her novel. The movie of The Giver takes none. It's safe, sorry and a crashing bore.
  92. The Alto Knights
    It still feels like you’ve wandered into a Mob-themed animatronic presentation at some amusement park — the Disney Hall of Famous Mafia Bosses — and dutifully watch as landmark moments in crime history are checked off and re-enacted. Take away the De Niro Con: The Movie bona fides, and you’ve got nothing but a fancy Discovery special.
  93. Blair Witch
    Every attempt at fright lands with a deadening thud. For shock value, Wingard and cowriter Simon Barrett simply repeat stuff from the original film, only this time louder, lamer, duller and stupider. Scarier? That got lost in the woods with whatever you spent for a movie ticket.
  94. Rock of Ages
    The hugely enjoyable Rock of Ages is saved by its music, a tasty brew drawn from Def Leppard, Journey, Foreigner, Bon Jovi, REO Speedwagon, Pat Benatar, Twisted Sister, Poison and Whitesnake. It's near impossible not to rock along.
  95. The X Files: I Want to Believe
    In not knowing who it needs to please, I Want to Believe pleases no one.
  96. Hollywood Homicide
    Escapism with a human touch -- it feels lived-in.
  97. Big Trouble
    The big problem with Big Trouble, despite a fine cast and director (Sonnenfeld made "Get Shorty" and "Men in Black"), is that the damn thing isn't funny.
  98. Semi-Pro
    Critics will score Semi-Pro on its missed shots. My guess is that audiences will do what they always do with Ferrell: remember when he killed them laughing.
  99. Lakeview Terrace
    The main problem with this treatise on racial politics undercover as an exercise in suspense is that the director, Neil LaBute, didn't write the script.
  100. Everybody's Fine
    No trite, tear-jerking cliché goes undrooled in the script by director Kirk Jones.
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