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. It’s a tribute to everyday people of another era that walks its own poetic path, content in the knowledge that one unremarkable person’s journey is remarkable enough to deserve such cinematic treatment.
  2. You get pulled into a force field, thanks to Cooper’s behind-the-camera chops and Gaga’s sound and fury. By the time the end credits roll, you realize that, in fact, two stars have been born.
  3. It's a wow of a thriller with a soul that isn't computer generated. Poitras may be guilty of taking Snowden at face value, but she succeeds brilliantly in evoking a shadow villain intent on world domination. Big Brother is back, baby, and he's gone digital.
  4. Recoing gives a performance that won't soon be forgotten. Neither will Time Out. It's a great movie.
  5. All the acting is first-rate -- Dukakis gives major dimensions to a supporting role. And Christie, a Sixties screen goddess in "Darling" and "Doctor Zhivago," shows that her spirit and grace are eternal. She's a beauty. So is the movie.
  6. It’s an indisputable classic.
  7. The ending, depending on you, may come off as either too neat or appropriately revelatory. But the film’s emotions have a stark, memorable sheen.
  8. Foxtrot makes demands on audiences and then richly rewards them. It's a riveting, deeply resonant achievement.
  9. Incisively witty, provocative and acted to perfection, this sublime entertainment is a career peak for producer Ismail Merchant, director James Ivory and screenwriter Ruth Prawer Jhabvala.
  10. You don't just watch it as much as you absorb it until the film's ebb and flow become a part of you.
  11. It may sound silly, but Lord and Park conjure up a world of visual miracles.
    • Rolling Stone
  12. Two men alone create an epic landscape of feeling in one of the very best movies of the year.
  13. Chris Pine proves he can act. Ben Foster, well, he always could. And Jeff Bridges shows them both how it's done. Those are just three riveting reasons to pony up for Hell or High Water.
  14. Up
    Up is a breathtaking ride into the realm of pure imagination.
  15. What Tan has given us is an incredible, sui generis tribute to the international lingua franca of D.I.Y. cinempowerment. She’s also telling us the story of how one person stole a big part of her youth. This documentary is her stealing it back. Victory, finally, is hers.
  16. Poor Things never gets dogmatically bogged down — it prefers a swifter, Swiftian attack on bygone mores regarding sex that still don’t feel bygone enough — but whether you dig the manner in which this pilgrim’s progress is presented may be a matter of taste.
  17. Say this about Black Panther, which raises movie escapism very near the level of art: You've never seen anything like it in your life.
  18. Even though it retains the basic theatrical conceit of a lone character having a one-sided conversation, it is pure cinema, because how could Almodóvar and Swinton do anything but turn this into pure cinema?
  19. Brooklyn is easily the year's best and most beguiling love story. The surprise is that it also goes deeper, sadder and truer.
  20. It takes you right up past the stratosphere alongside these souls. Then it brings everything back down to Earth with equal agility and grace. It is a revelation.
  21. Spectacular in every sense of the word, even if you don' t know an Orc from a Uruk-Hai.
  22. Renier and Francois give deeply affecting performances that help soften the film's harsh blows. But only in the compassionate eye of the Dardennes do these three children achieve a state of grace.
  23. It’s the sort of cinema that feels steeped in the past, completely of the moment and timeless all at once.
  24. I'm jazzed by every tasty, daring, devastating, howlingly funny, how'd-they-do-that minute in Birdman. Like all movies that soar above the toxic clouds of Hollywood formula and defy death at the box office, Alejandro G. Iñárritu's cinematic whirlwind will bring out the haters. They can all go piss off. Birdman is a volcano of creative ideas in full eruption. Buy a ticket and brace yourself.
  25. Melissa McCarthy is a lock for a Best Actress Oscar nomination for Can You Ever Forgive Me?
  26. The artful symmetry is an Almodovar hallmark, and his cinematic memento is filled with the intimate, indelible moments that made a life. You can feel his passion for cinema in every frame. Pain and Glory is not just his most personal film. It’s also one of his greatest.
  27. So fasten your seat belts for Gomorrah, just snubbed in the wussy Oscar race for Best Foreign Film (so you know it's dynamite).
  28. Chou has said that the film isn’t autobiographical — nor, despite the fact that Park herself was born in Korea and raised in France, is this her story. Yet the two of them have made something that feels so intensely personal and infuses so much life into this young woman’s trek toward self-discovery.
  29. The movie makes you wish you were there. Lights darkened, dots and rays and Reed flickering before us, we nearly are.
  30. All That Breathes favors a poetic, almost dreamy style, filled with the kinds of ugly-beautiful images and thoughtfully dispatched voiceovers that can strip a narrative of outright propulsion in favor of mesmerizing us with ebbing ideas and moments of wonder. It occasionally strains. But the basic conflict at play, between the selflessness of these medics, the growing need for their work, and the utter folly of this mission — it can feel a little like standing in front of a moving train — gives it all an urgent undercurrent.

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