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. Writer-director Gerard Stembridge keeps the amoral laughs bubbling.
  2. You leave impressed that Anderson can still manage to do what his does best without succumbing to self-parody here. The blueprint may be familiar. But it’s still a pretty foolproof plan.
  3. It’s faint praise, even in the post-MCU era of the genre, to say that Superman is a solid superhero film; the caveat is hiding in plain sight. What Gunn has pulled off is something more complicated, more interesting, and far tougher: He’s given us a Superman movie that actually feels like a living, breathing comic book.
  4. What is certain is that Mossfegh’s exploration of secrets, lies and liberation plays well on the page, but works even better on the screen. Good luck in getting this movie out from under your skin.
  5. It’s the actors who make this real-life legal procedural come alive.
  6. Fremont is neither game-changing nor revolutionary. It’s merely a throwback, in the best possible way, to a low-fi aesthetic and low-key way of storytelling you thought had gone the way of the Triceratops. That, in fact, is what makes this deceptively placid, supremely wry movie so damned moving.
    • 55 Metascore
    • 80 Critic Score
    They Live, Carpenter’s 1988 paranoid freakout, deserves to be thought of as a masterpiece, an artist’s defiant last grab at substance before losing the thread. It’s a cheesy but lovable movie.
  7. Nanny starts as a movie about a reality that we’d rather not face — the plight of Black domestic workers, of immigrants, of the barebones fact of financial survival — and ends as a movie about reality that we cannot bear. That is the horror of it — and, in Jusu’s hands, the galvanizing thrill.
  8. Lumet has a reputation for speed, and when a film doesn’t engage him, as in Family Business, the result seems rushed, sloppy. But in Q&A, with all the actors perfectly cast and on his wavelength, he works wonders. Nolte is electrifying.
  9. It’s the war between the bonds of family vs. the pull of wealth — a global theme across wide borders and cultures — that gives the film heft. But even when the script drifts into moralizing, it’s the emotions that hold sway.
    • 53 Metascore
    • 80 Critic Score
    The film is well-paced, tightly edited and engaging, and at times, it’s quite inspiring.
  10. Keeps the laughs coming, and a dynamo named Steve Zahn is the cheif reason why. It's a one-joke movie, but the cast knows how to sell it.
    • Rolling Stone
  11. An actor with a handful of shorts under his belt — including a Cesar-nominated 2017 one that served as the basis for this feature — Ladj Ly juggles a variety of perspectives, subcultures and intersecting storylines like a pro.
  12. The Woodman has recovered his common touch. On him, it looks good.
    • Rolling Stone
  13. The practical effects, meaning the real stuff the computer never touched, make all the difference when you’re asking audiences to see the characters as human instead pawns in a digital game.
  14. All the pieces hang together. You can't say that about many movies.
    • Rolling Stone
  15. The Way of Water is like its predecessor: sincere to the point of being brash, wide-armed and open-hearted toward the world it loves and vengefully, comically violent toward the people who arrive to destroy that world. It’s a better movie than the first outing because Cameron lets things get weirder, wilder.
  16. Auteuil and Depardieu spar hilariously, and writer-director Francis Veber, following "The Dinner Game," offers another delicious treat.
  17. Poetic is a word that goes thrown around easily and abundantly, especially when it comes to documentaries that forego any sort of standard interview-clip-context-rinse-repeat format. But it’s hard to think of a better adjective to describe the early sequences of Honeyland.
  18. Jagger the actor is someone you want to see again. Eat your heart out, Madonna.
  19. Aims for pure joy and achieves it.
  20. With shocking humor and surprising grace, Von Trier creates something unique and memorable.
    • Rolling Stone
  21. Sirāt...is not for everyone. But it is the sort of overwhelming cinematic experience and undeniable work of sound and vision that could be life-changing for those ready to receive it.
  22. Deliver it does, big time.
  23. Kelson ushers in a more meditative tone for this entry, which reveals that it is, among other things, a coming-of-age story. Yet this swerve into more emotional territory doesn’t dampen the tension or the terror that Boyle remains an expert at conjuring up; if anything, it acts as a countermelody to the genre aspects.
  24. A portrait of a sycophant as a pure, unbridled sociopath, Lurker understands the relationship between fame and fandom all too well.
  25. You can feel the heat that ignites this gripping tale, and the humor and humanity that root it in feeling. Sayles knows how to use his social conscience: He lets it rip.
  26. Rules needs that dose of hilarity. Ellis' satire, filtered through Avary's harsh lens, is hard to stomach, harder to ignore.
  27. Delivers more suspense than a tombful of mummies.
    • 69 Metascore
    • 80 Critic Score
    Taking it's framework from classic fairly-tale characters like Cinderella, the British story of Little Voice is one of compassion, humor and music.

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