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. Transformers: Dark of the Moon
    Transformers: Dark of the Moon - high on any list of the worst blockbusters ever - is a movie bereft of wit, wonder, imagination, and any genuine reason for being. Watching it makes you die a little inside.
  2. Breaking In
    The listless, leaden acting, writing and direction in this breathtakingly stupid bomb-ola defies audiences to stay conscious through its drag-ass 88 minutes.
  3. Endings, Beginnings
    Though the movie stalls frequently before it finds its balance, Woodley makes us care.
  4. Along Came a Spider
    Alex Cross has been neutered on film, deprived of his sexuality, his family, his friends.
  5. Night at the Museum: Battle of the Smithsonian
    The money shots of the living tableau are padded with jokes that feel embalmed before the actors get them out of their mouths.
  6. Abraham Lincoln: Vampire Hunter
    The movie deserves a stake through the heart.
  7. RoboCop 2
    It's difficult to imagine a summer film programmed more cynically than this repugnant sequel. RoboCop 2 is all machine, and it's all vile.
  8. The Last House on the Left
    Audiences with a brain cell left have only one choice: Look for the first exit on the right.
  9. Persuasion
    The cast puts its effort into a slightly less underwhelming movie, one a little more willing to engage this gallery of personalities, which, insofar as they’re based on the characters in the novel, are just engaging enough to watch this once and never think about again. Austen works hard. But mediocrity, this movie reminds us, works harder.
  10. The House That Jack Built
    Jack proves he’s (von Trier) also capable of making a failed act of provocation. The fact that he ends the movie in hell seems superfluous. We’ve already been there for two and a half hours.
  11. Take Me Home Tonight
    One raucous night, one raunchy party, "American Graffiti filtered through "Dazed and Confused" and the Shermer High films of John Hughes.
  12. Bel Ami
    With that cast, we rightfully expect fireworks. What we get is the film equivalent of a wet blanket.
  13. The Roads Not Taken
    There’s no doubting Potter’s laudable ambition to capture the swirling headspace of her brother, who died in 2013. But in trying to restore his dignity in fighting the dying of the light, she’s neglected to portray him in the human terms that would let us share his spirit.
  14. Breakfast of Champions
    Quite a spectacle, but the movie falls flat.
    • Rolling Stone
  15. Halloween Kills
    As with so many middle parts of proposed trilogies, Halloween Kills feels designed to get you from Point A to a future Point C. It forgets, however, that a middle chapter still has to work on its own, and that stranding fans, completists, casual moviegoers, etc. in a weak-link entry runs the risk of permanently turning people off of the whole endeavor.
  16. Suburbicon
    Clooney is too talented and committed a filmmaker not to get in his licks. But with Suburbicon, he's made a movie that is tonally at war with itself.
  17. King Arthur: Legend of the Sword
    An epic bore that believes if you make a movie long and loud and repetitive enough, audiences will conclude it's saying something profound. Wrong.
  18. 6 Underground
    OK, so, listen: There’s really no point describing what happens, or how, or when, or why. This is not a narrative film. This is not “cinema,” or maybe it is, who the f**k knows anymore? This is a Michael Bay movie.
  19. Larry Crowne
    Larry Crowne is more than a missed opportunity. It's alarmingly, depressingly out of touch.
  20. John Tucker Must Die
    Awful.
  21. What to Expect When You're Expecting
    Morning sickness afflicts most of the potential mommies. For me, the movie itself triggered the vomiting.
  22. Black Adam
    Viewed as a light star vehicle with a lot of VFX — a soft Rock movie — it’s simply ho-hum. The issue is with everything else happening onscreen around him. Even by the DCEU’s dodgy standards, it’s a mess in a cape.
  23. Best Laid Plans
    Director Mike Barber springs a twist ending that makes you sit up and stifle those yawns.
    • Rolling Stone
  24. Battleship
    Way to go, Battleship: Take the crassest of cynical junk, slather it in jingoism and sell it as rah-rah fun for right-wingers.
  25. What a Girl Wants
    It's slick girlie stuff, but the cast makes it go down easy.
  26. Home Again
    A patently bogus romcom in which every note rings false.
  27. Venom: The Last Dance
    Why does this Last Dance feel so impersonal, so rote, so step-by-step predictable?
  28. Struck by Lightning
    In his screenwriting debut, Glee's gifted Chris Colfer, 22, proves he can lace a line with sass and soul. The downside of Struck by Lightning, besides the fact that Colfer's character, Carson Phillips, is struck dead in the first scene, is that Colfer hands himself all the best lines.
  29. The Purge
    DeMonaco shows a sure hand at building tension. Too bad the film devolves into a series of home-invasion clichés. The Purge was almost on to something.
  30. Stand Up Guys
    Some actors don't need top-shelf material. Just the pleasure of their company is enough. And so Al Pacino, Christopher Walken and Alan Arkin turn the insubstantial Stand Up Guys into solid entertainment.
  31. At First Sight
    May be only loosely true, but it is thoroughly Hollywood.
  32. Love Wedding Repeat
    For those who mistake Love Wedding Repeat for a comedy with actual laughs, consider yourselves warned.
  33. Ride Along
    A collection of moldy gags that director Tim Story tries to polish. Not with these turds, pal.
  34. The Waterboy
    Offers dumb fun without apology.
  35. Simpatico
    A promise unfulfilled.
    • Rolling Stone
  36. Two Ninas
    Turitz keeps it comic and romantic in just the right doses. Looking for a fun date flick? You found it.
  37. Woman on Top
    Cruz is a dish, but her movie is as soggy and indigestible as Styrofoam.
    • Rolling Stone
  38. Moonfall
    Recommending that someone actually subject themselves to Roland Emmerich’s sci-fi neo-disaster flick, however, is a little like shoving three-month old milk under an unsuspecting person’s nose and inquiring, Does this smell ok? You already know the answer; you just need to share the pain.
  39. Stay
    Some people find this twisty and twisted psychological thriller arty and pretentious. I find it arty and provocative.
  40. The Curse of La Llorona
    The dialogue starts at risible and descends from there.
  41. Stoned
    Could 1960s-style sex, drugs and rock & roll really have been this dull?
  42. The Woman in the Window
    You go in with high expectations about what this collection of talent can do with this bats**t pulp fiction. You leave feeling like you owe Brian De Palma a thousand apologies.
  43. Jiminy Glick in Lalawood
    Director Vadim Jean is lucky that his low-octane comedy is long on Short.
  44. Sahara
    McConaughey, despite alarmingly orange makeup, does justice to the role, a hard-drinking, shipwreck- hunting senator's son with a 007 way with the ladies.
  45. The Limits of Control
    Even the great ones hit snags. With The Limits of Control, Jim Jarmsuch gets tangled up in his own deadpan.
  46. What Planet Are You From?
    This comedy is packed with p---- jokes, the cruder the better.
    • Rolling Stone
  47. One Eight Seven
    A ham-handed melodrama that trivializes an important topic: the role of the teacher in a violent classroom.
  48. Passengers
    The spectacle feels lifeless and what could have been a challenging moral provocation dissolves into sappy, feel-good pandering. Lawrence and Pratt deserve better. So do audiences.
  49. The Salton Sea
    It's Vincent D'Onofrio as Pooh-Bear, a drug lord who's snorted so much meth his nose had to be replaced by a plastic one, who kicks ass.
    • Rolling Stone
  50. Double Jeopardy
    Judd is slumming again in ths lame suspense yarn that could barely pass as a TV quickie without the bankable names of Judd, Tommy Lee Jones and director Bruce Beresford.
    • Rolling Stone
  51. Monster Trucks
    Monster Trucks is a wreck, fueled by the crazy belief that noise and repetition can disguise the lack of credible writing, directing, acting and FX.
    • 41 Metascore
    • 50 Critic Score
    Miss Bala
    Without the unyielding forward charge of the original, however, the far-fetched story doesn’t really work. And the movie’s attempts to explain its characters doesn’t make them any deeper; quite the contrary, it renders them simplistic.
  53. Bad Boys
    But the bad boys achieve something a budget can't buy: an easy, natural rapport that makes you root for them. For comedy and thrills, Lawrence and Smith are a dream team.
  54. The Chumscrubber
    An appallingly clumsy and stupid take on drugs, kidnapping and suicide in suburbia.
  55. Super Troopers 2
    The problem here isn't excessive pandering; the sheer existence of this second movie is already 100-percent fan service. It's that it doesn't give you much beyond a very subjective view of what these guys find hilarious.
  56. The Grudge
    To start as a genre resuscitation and end up as simply generic — that’s a far more fatal ending than any curse befalling the characters onscreen.
    • 41 Metascore
    • 50 Critic Score
    Easter Sunday
    It’s clear that Jo Koy loves his relatives, and wants the world to know it. It’s just that his style would be better served within the more earnest confines of a traditional multi-cam sitcom.
  58. Chappie
    Blomkamp and his wife and co-writer, Terri Tatchell, stack the deck. Instead of awe, we get "E.T." - aww.
  59. House of Wax
    Purists, be warned: This scare-flick quickie has as much relation to the 1953 Vincent Price classic with the same title as Paris Hilton does to acting.
  60. Jakob the Liar
    The self-congratulatory histrionics of Williams, lower lip trembling as he triumphs over torture in the name of the human spirit, represents a trend in Hollywood to make accessible melodrama out of unspeakable tragedy.
    • Rolling Stone
  61. The Hunted
    Just a "Rambo" rehash.
  62. Here Today
    The movie certainly has heart; its purpose is unmistakable. But the spark — for which it has all the necessary ingredients — is somehow missing.
  63. Falling for Christmas
    Lohan’s most distinguished quality as a star is that glowing goodness, a real, unshakeable joy that can only barely be imitated, let alone replicated, and which feels perfectly at home in the bright, buoyant, only glancingly ironic realm of happy-go-lucky comedy.
  64. The Invisible Circus
    The script hits rough patches, especially when Phoebe and Wolf get it on, but the sisters cut to the heart.
  65. Gangster Squad
    This movie made my ears hurt. Raymond Chandler, Dashiell Hammett and James Ellroy could have turned this pulp into insinuating jazz. What's here is a cartoonish bore.
  66. Lethal Weapon 3
    Lethal Weapon 3 offers mediocrity wielded by experts. It's not a movie, it's a machine.
  67. Anna
    This kind of Cold War-a-go-go, deadly-honeypot intrigue is harder to do well than you might think — just ask the folks behind "Red Sparrow." So you appreciate it when someone like Besson can make it move like a pro.
  68. Vantage Point
    By the end, Vantage Point is such a unholy mess of drooling sentiment and sloppy loose ends that you’ll hate yourself for being suckered in.
  69. Evolution
    It's refried comic beans that smell stale and smack of desperation.
  70. Table 19
    A tonally uneven mishmash of Wes Anderson quirk, John Cassavetes guts-spilling and The Breakfast Club, all of which somehow manages to dampen the talents of its crack ensemble cast.
  71. The Power of One
    A violent cartoon that trivializes apartheid. If there's any justice, the birds of loneliness will be circling the box office.
  72. Act of Valor
    I don't know what to make of Act of Valor. It's like reviewing a recruiting poster.
  73. The Boss
    The result this time is just as hit and miss. But when it hits, yowsa.
  74. Final Analysis
    Final Analysis suffers from something much worse: terminal shallowness.
  75. Unhinged
    Even marking on a B-movie curve, Unhinged is running on empty.
  76. Shaft
    By the end, when the three Shafts hit the streets in identical long coats like something out of The Matrix, the message is clear. Rough justice is back to stay. Women are out of the picture, except for sex. Dinosaurs again walk the earth with misogynistic and homophobic impunity. These are the laughs, folks. Don’t be surprised if they stick in your throat.
  77. Derailed
    The strapping Owen as a guy who can't handle himself and cutie-pie Aniston as a witchy woman? I don't think so. Talk about derailed.
  78. Piñero
    There's a strong movie in this life, but writer-director Leon Ichaso ("Sugar Hill") hasn't found it.
  79. Suicide Squad
    Suicide Squad wussies out when it should have been down with the Dirty Dozen of DC Comics. Audiences complained that Batman v Superman was too dark and depressing. So director-writer David Ayer (End of Watch, Fury) counters with light and candy-assed. I call bullshit.
  80. 65
    It’s not schlocky enough to be so-bad-it’s-good and nowhere near good enough to be taken even a tiny bit seriously.
  81. The Phantom of the Opera
    Phantom, still running on Broadway after sixteen years, is a rapturous spectacle. And the movie, directed full throttle by Joel Schumacher, goes the show one better.
  82. The Goldfinch
    The only achievement in transferring The Goldfinch from page to screen is that it’s a botch job for the ages.
  83. Message in a Bottle
    It's love with tragic complications, and director Luis Mandoki drags the torture out for two-plus hours.
  84. Welcome To Marwen
    You never doubt the good intentions of Zemeckis and Steve Carell, who plays Hogancamp with genuine grace. Sadly, something essential went missing in the trip from Marwencol to Marwen.
  85. Remember Me
    The brooding RPatz doesn’t bite. But his movie does.
  86. The Comedian
    It plays like an opportunity missed.
  87. Salinger
    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.
  88. Blood and Money
    From its generic title to an ending you can see coming from outer space, Blood and Money follows a path rutted with enough clichés to cover the three million acres of Maine forest land where the film is set.
  89. Alexander
    Alexander breaks the key rule that makes movies move: Show, don't tell.
  90. National Treasure
    It's not just hard to believe any of this, it's impossible. And director Jon Turteltaub (Phenomenom) directs with robotic cheerlessness.
  91. Domino
    Just when you want to outright dismiss it, a pinprick of sound and vision peeks through the straight-to-DVD dross. And just when you start to think someone’s starting to gin up that old black magic, the whole thing simply topples over with a loud thud.
  92. Aloha
    It gives me no pleasure to report that Aloha is still a mess, a handful of stories struggling for a unifying tone.
  93. Teenage Mutant Ninja Turtles: Out of the Shadows
    Cowabunga, the vigilante demi-gods on a half shell are back, and more inane and irritating than ever. Their antics make the 112 minutes it takes to watch this frenetic followup to 2014's Teenage Mutant Ninja Turtles a torturous mindfuck for any sentient being over the age of infancy.
  94. Head in the Clouds
    This spark-free film has no place to go on their resumes except under the heading of "Cringing Embarrassment."
  95. Pay It Forward
    Crass manipulation can clean up at the box office, so do your part: Nail this flick as a bottom feeder and pay the bad word forward to three others.
    • Rolling Stone
  96. A View to a Kill
    What's good? A mesmeric, bottle-blond Christopher Walken as Max Zorin, hellbent on global domination as a product of Nazi experiments, Grace Jones' zowie star at his henchman, and Duran Duran's title song. Otherwise, I'm out.
  97. Toys
    To cut Toys a minor break, it is ambitious. It is also a gimmicky, obvious and pious bore, not to mention overproduced and overlong.
  98. Jupiter Ascending
    This kind of pandering FX padding, unnurtured by humor or heart, is what shifts Jupiter Ascending from a shambles to a fiasco. In an effort to win back audiences by lowering their standards and their daring, the Wachowskis wind up where you never expected to find them creatively: on the ropes.
  99. Homefront
    It could have been crazy-good trash.
  100. The 355
    There’s so much wasted potential here, so little sense of how to get across a notion of solidarity in the face of catastrophic danger, and sexism, not in that order.
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