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 0.4 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. If you have to ask why this sucks, you deserve to waste your money. Why not also check out "Like Mike," "Juwanna Man" and "Hey Arnold! The Movie"?
  2. There are times when Braff and Melfi hint at the darkness of a world that ignores seniors by making them invisible. But this new version of Going in Style sells uplift so hard it loses touch with reality – and any genuine reason for being.
  3. Prom has its modest delights, chiefly its young cast.
  4. How to Talk to Girls at Parties is all feedback. It talks loud and says next to nothing.
  5. Summering works better as a mood than it does a movie, succeeding in channeling a certain feeling of transition despite ambling, or occasionally stumbling though more traditional kids-flicks narrative beats.
  6. Eisenberg and Stewart stay appealing to the last. The movie, not so much.
  7. It’s something closer to an amusement-park attraction named Generic Blockbuster Cruise, where you slowly glide past a bunch of prefab set-ups — over there you’ll see some thrills, look out on your right for some spills and chills — and the whole thing moves inexorably forward on a track, while a skipper cracks the same corny jokes.
  8. Playwright Stephen Belber (Match), in his directing debut, comes close to the sweet spot. He's not there yet. But he'll be worth watching next time.
  9. Alas, this isn't the Trump-trolling toon you're looking for. People may search for protest art hidden among the potty jokes, but the closest they're going to get to a subtextual statement is the Beatles' "Blackbird" on the soundtrack – and that's been repurposed as a lullaby.
  10. A sappy big-screen version of TV's "CSI."
  11. What the film lacks is suspense, surprise (the new ending is a dud) and passion.
  12. 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.
  13. This is Williams’ spotlight, and it’s worth slogging through some of the soapier-to-sludgier aspects to watch her ply her craft
  14. Downey makes something lively, sexy and moving out of a role that's just a thin concept. But the movie feels like it's still in the darkroom.
  15. Instead of a scalding brew of mirth and malice, served black, Donner settles up a tepid latte, decaf.
  16. The jokes never go deep, the toothless bites at the system leave no marks. It's only the wild-card energy of Ferrell and Galifianakis that keeps you on the ticket.
    • 50 Metascore
    • 40 Critic Score
    If Tom experiences profound inner conflict about his dual life, or feels as if he’s being unfair to his lovers by stringing both of them along in different ways, it’s not reflected in Styles’ performance, which rarely goes beyond trading cocky ease (a state of being he seems comfortable with) for awkward silence (a state that he does not).
  17. While no one could accuse Ticket to Paradise of being a “great” movie, or even a “very good” one, there’s something about watching Clooney and Roberts butt up against each other in front of a screen-saver background that scratches a long-dormant itch.
  18. A movie that advances the career of a demonstrably gifted filmmaker, a fearlessly funny movie whose laughs draw blood, a bracingly provocative movie that won't apologize for its bad temper.
  19. It's unapologetic schmaltz, deftly directed by Gary Winick (Tadpole) as if it really meant something.
  20. A borrowed idea -- hello, "Blade Runner," hi there, "Matrix" -- but an idea nonetheless.
  21. It Lives Inside knows you can use the cover of monsters and things that go bump in your psyche to examine the real-life horrors. But when the message starts to eclipse the medium, it’s time to get out.
  22. The film can’t figure out if it wants to be a love story or social commentary, and ends up doing neither very well.
  23. This is ambitious, challenging filmmaking, elevated by Franco's compassion and Haze's revelatory acting. OK, the film trips up on its attempt to lace tragedy with gallows humor. But Franco is out there trying something, balancing literature and cinema in a tightrope act that is never less than exciting to watch.
  24. If the script for this comic spin on Fatal Attraction were only a tenth as hot as Uma Thurman, director Ivan Reitman might have had something here.
  25. The actors and admirably sensitive director Jake Scott (son of Ridley) can't compensate for Ken Hixon's long slog of a script.
  26. You'll end up entertained if you forgive the cliches and let Petersen grab you with the visuals.
  27. I left this movie feeling I’d been had. And not in a good way.
  28. In Portman's dynamic performance you can see strength and vulnerability warring for Anne's soul. In this bedroom view of history, it's that image that sticks.
  29. What's missing in Prince of Persia is a sense that all the running, jumping, climbing and fighting is leading to something. The best video games challenge you to reach the next level. Prince of Persia is content to skim the surface.

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