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. The result is a film of surprise and wonder, lyrically attuned to the ticking intensity of romance.
  2. Director Gary Fleder ("Don't Say a Word") pushes the same old cliches in "Blade Runner" packaging.
  3. A personal best for producer Jerry Bruckheimer, a triumph for Scott and a war film of prodigious power. You will be shaken.
  4. Director Gillian Armstrong turns Sebastian Faulks' pungent novel about World War II into a soporific.
  5. Contrived, manipulative and shamelessly sentimental, this film is notable for the courageous reach of Sean Penn, who gives a bold, heartfelt performance.
  6. The actors make it unique and unforgettable.
  7. Gosford Park abounds in scenes to savor. It's a feast, and one of Altman's best.
  8. Ali
    Ali is a bruiser, unwieldy in length and ambition. But Mann and Smith deliver this powerhouse with the urgency of a champ's left hook.
  9. 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.
  10. Director and co-writer James Mangold (Girl, Interrupted) is supplying comfort food for bruised romantics.
  11. Sadly, Howard blands out in the final third, using old-age makeup and tear-jerking to turn a tough true story into something easily digestible. Until then, you'll be riveted.
  12. Fellowship is the real deal, a movie epic that pops your eyes out, piles on thrills and fun, and yet stays intimately attuned to character.
  13. There's a strong movie in this life, but writer-director Leon Ichaso ("Sugar Hill") hasn't found it.
  14. Director Richard Eyre has struck gold. Twice. Dench and Winslet are a riveting matchup.
  15. The acting is top-notch, and LaPaglia, who makes the cop's torment palpable, gives the performance of his career.
  16. Anderson offers no phony uplift for the Tenenbaums or for audiences. But he does know how to take a sad song and make it better. In these troubled times, that's a gift.
  17. You won't forget this film -- it's devastating.
  18. Crowe's tantalizing film sticks with you.
  19. A funny and touching film that is gorgeously acted by a British cast to rival Gosford Park's.
  20. Fierce, funny and finally devastating, Tanovic's superb film offers a timely look at the roots of civil war and acts of terrorism on both sides that can be exploited by political and media hypocrites alike.
  21. Forget Oscar, Ocean's Eleven is the coolest damned thing around.
  22. A maliciously funny and keenly observant movie -- director-writer Patrick Stettner makes a potent feature debut -- that serves its humor dark and without artificial sweeteners.
  23. In this funny, touching and haunting film, Patel cuts through stereotypes to show the hard truths of straddling two cultures.
  24. An uncommonly good movie - a thriller that transcends thrills to become a heartfelt and heart-stopping personal drama.
  25. Slack direction fails to touch a nerve. Martin was scarier and funnier extracting Bill Murray's molars without Novocaine in "Little Shop of Horrors." Now that was one crazy dentist.
  26. Is the movie any good? At the dawn of the twenty-first century, when art is defined by commerce, this question is beside the point.
  27. For the first time, the Farrellys seem to be embarrassed by their own crudeness. For the first time, they should be.
  28. Mamet -- crafts tangy, well-seasoned dialogue that a good cast can feast on. And this cast is prime.
  29. It's the Pixar animators who keep grown-ups as riveted as the kids with visual marvels that dazzle and delight.
  30. Steadily engrossing and devilishly funny, and, o brother, does it look sharp.
  31. Christensen is the only jolt of excitement in this turgid soap opera.
  32. It isn't the sex that shocks here, it's the chilling core of loneliness. Intimacy dares to cut deep, and its daring gets to you.
  33. No denying the relevance of the tale.
  34. The Hughes boys blow it by burying a fine cast -- Robbie Coltrane as a cop and Ian Holm as a royal sawbones are standouts -- in stock scares, sappy romance and cliches that really are from hell.
  35. That Linklater pulls off the innovative feat with hypnotic assurance is nothing short of amazing.
  36. What started as cute becomes cloying and bloated. Charm should never feel like it weighs a ton.
  37. The challenge is exhilarating. You can discover a lot about yourself by getting lost in Mulholland Drive. It grips you like a dream that won't let go.
  38. An absolute stunner of a movie.
  39. If you're looking to have your nerves fried and your pulse pounded, this is your ticket to ride.
  40. But this is Washington's show, his Scarface, if you will, and his smiling, seductive monster is a thrilling creation that gives Training Day all the bite it needs.
  41. Does romantic comedy have to come off as sugared stupidity? It does here.
  42. Abounds in pleasures.
  43. What a shame, though, that the movie isn't a livelier business.
  44. The funny and touching result is worth cheering for.
  45. A ragtag charmer. You will laugh.
  46. The film takes a true story and drags it through a swamp of hyped-up Hollywood cliches.
  47. Setting it against the backdrop of a wanton city under siege, Schroeder crafts a film of whiplash urgency.
  48. Launches the fall season with a crashing thud.
  49. It's a powerful and provocative achievement from a first-time filmmaker of enormous promise.
  50. Fighter shapes up as one of the great documentaries of this year, or any other.
  51. This hilarious and humane film nails its subject -- not just the unshaved armpits and the lack of underwear -- and marks Moodysson as a talent to watch.
  52. A blast of comic irreverence that serves as a starring vehicle for two stoner characters who had previously been relegated to the sidelines.
  53. Filming this mess in North Carolina (strike three).
  54. It's a real charmer from a director who feels that a knockabout romantic farce doesn't have to be mindless -- take that, "America's Sweethearts."
  55. As heartfelt as it is hilarious.
    • Rolling Stone
  56. Overheated, underdone farce. Race for the exit.
  57. A slipshod sequel that looks tossed together over a weekend by people who couldn't care less.
  58. Too crude for the kids and not crude enough for connoisseurs of the "Something About Mary" school of hair jism and balls caught in zippers, Osmosis Jones seems doomed to fall between the cracks.
  59. A spine-tingler directed with fierce finesse.
  60. Only some bumpy, arid passages in the script keep The Others out of the master class occupied by the likes of "The Sixth Sense" and, my favorite, 1961's "The Innocents."
  61. Springs surprises that entertain and provoke.
  62. An erotic thriller with flaws.
  63. Winds up being faster and funnier than the first time. Chan's acrobatic high jinks play strikingly off of Tucker's wiseass humor.
  64. With Apocalypse Now Redux — one for the ages when it comes to the moral battles of war — Coppola has reached the finish line at last. It smells like victory.
  65. With the exception of a battle scene with apes on all fours charging the humans, the film is monumentally silly.
  66. Lulls aside, Wain and Showalter deserve camp kudos for getting the details right.
  67. Chockablock with things we're not supposed to notice: that Roberts is wasted; that she and Cusack have no characters to play, so it's virtually impossible to understand why she loves him or vice versa; that the script provides comedy without bite and romance without resonance.
  68. Mitchell gives this post-punk, neo-glam rock extravaganza everything in his loaded arsenal of talents. He gets the sound right, the look right, the fun right and - this is crucial - the pain right.
  69. Let the unsettling secrets of this outrageously funny and steadily engrossing meditation on the life of two high school misfits after graduation catch you by surprise. It's that good.
  70. Stinks worse than dino dung. Sure, the creatures look good.
  71. There's more suspense in watching Brando, who has trouble with physical exertion, get on and off a bar stool than the robbery itself. Still, Brando -- his eyes alive with mischief --is the life of the movie.
  72. Smash acting debut of Combs, who brings ease and charm to a crime lord.
  73. Witherspoon -- though miles from the keen satire of "Election" -- stays one sharp cookie even as her film crumbles.
  74. But the film exerts a hold. The crux is: for how long?
  75. Makes you gag.
  76. Auteuil and Depardieu spar hilariously, and writer-director Francis Veber, following "The Dinner Game," offers another delicious treat.
  77. From the lowercase lettering of the title to the deadly familiarity of the plot, there is much to grate on your nerves in this TV Afterschool Special trying to pass as a real movie.
  78. Whether audiences are pleased or vexed, very vexed, by A.I., any movie buff worth his salt will want to sift through this fascinating wreck of a movie.
  79. Lacks the cumulative impact of "Boyz," since Singleton allows repetition and sermonizing to dull his theme about the infantilization of black males. But Baby Boy leaves you shaken.
  80. Rob Cohen, who last directed "The Skulls" --ouch! -- can consider this one another career-killing skid mark.
  81. Alleged family fun.
  82. McTeer and the transporting music hold you in thrall.
  83. Slick-dick director Simon West, of "Con Air" and "The General's Daughter" infamy, continues to show no flair at all for blending action and character. Jolie and Lara deserved better. So did we.
  84. Kingsley creates an unforgettable monster. Acting rarely gets this hypnotically explosive.
  85. Exhibits rank incompetence on every level.
  86. It's refried comic beans that smell stale and smack of desperation.
  87. They turn what could have been an acting stunt into an intimate and compelling study of bruised emotions.
  88. Reeks like something produced from a squatting position.
  89. Lawrence forgoes his knack for verbal comedy and replaces it with crude nonstop mugging.
  90. Certainly blunt, and since Anderson and Bach are veterans of the porn trade, there is no skimping on the sex.
  91. The director finds poetry in the face of his lead actress, whose performance is as luminous and moving as the film itself.
  92. The film has no soul. An epic about this day of infamy should shake you to the core. But the real infamy about Pearl Harbor is that when you exit, you don't feel a thing.
  93. Potter gets the period details right, but the film itself has long since flown off the rails, miring good intentions in rank soap opera.
  94. A romantic thriller of more than usual ineptitude.
  95. A world-class charmer that could even seduce the Academy when it hands out the first official animation Oscar next year.
  96. The grand becomes grandiose and the lyrical turns bombastic.
  97. Delivers more suspense than a tombful of mummies.
  98. It's a dumb summer movie done with smarts.
  99. Writer-director Gerard Stembridge keeps the amoral laughs bubbling.
  100. It's a role of fierce demands, and Rampling meets them all. In a summer of crass, Rampling is a true class act.

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