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. Blink Twice
    There’s so many sharp jabs here, so much well-honed Hitchcockian 101 technique on display, that you can’t dismiss this exercise in horror as social-rage sugar pill.
  2. Tupac: Resurrection
    Lazin's remarkable achievement is to catch Tupac in the act of discovering himself. It's something to see.
  3. World Trade Center
    Undeniably affecting, but you leave it wanting more.
  4. Wonder
    Wonder is an emotional wipeout, that's for sure, but Chbosky handles it with such tenderness and delicacy, you won't hate yourself (too much) for giving in.
  5. Jimi: All Is by My Side
    The movie has a tossed-off, caught-on-the-fly exuberance that works like a charm.
  6. The Girl Who Played with Fire
    Relentless suspense allows The Girl Who Played With Fire to hold you in a viselike grip. But it's the performances of Nyqvist and especially Rapace that keep you coming back for more.
  7. The Wind
    The Wind does indeed blow a hell of a chill through you, though that has less to do with thing that bump in the night than in the psyche.
  8. In Good Company
    Fresh comic thinking spices up this smart cookie of a satire from director-writer Paul Weitz (About a Boy). He makes it sexually provocative and subversively hilarious.
  9. Terminator 3: Rise of the Machines
    May lack the mythic pow of the 1984 original and the visionary thrill of T2, but it's a potent popcorn movie that digs in its hooks and doesn't let go until an ending that ODs on apocalyptic hoo-ha.
  10. Julie & Julia
    Meryl Streep -- at her brilliant, beguiling best -- is the spice that does the trick for the yummy Julie & Julia.
  11. Emma
    McGrath's script is faithful: fierce when it needs to be and devilishly funny.
  12. Avengers: Age of Ultron
    A whole summer of fireworks packed into one movie. It doesn't just go to 11, it starts there.
  13. Captain America: The First Avenger
    Here's the funny thing: Despite all the Captain America rah-rah in costume and indestructible shield, the movie is at its best when the story sticks with skinny Steve.
  14. City Island
    A warmly hilarious movie about family members and their secret hearts.
    • 66 Metascore
    • 90 Critic Score
    The Kitchen
    There is such clarity of vision here, a rare feat from a first-timer, that it feels as though it was crafted by a seasoned pro. The script is tight and full of humanity, never falling into the trap of being too earnest, and blends some genuine comedy with sequences of pathos and heartbreak. Everything feels grounded without an ounce of pretension.
  16. Something's Gotta Give
    In an era of dumb farce, Something's Gotta Give is something special.
  17. The Girlfriend Experience
    Stylishly shot on the high-def cheap, runs 77 potently sexless minutes. Its subject isn't erotica, it's commodities trading.
  18. Sausage Party
    You leave the f--ked-up funhouse of Sausage Party thinking: Did I see this movie or hallucinate it? I mean that as high praise.
    • 66 Metascore
    • 75 Critic Score
    Dark Star
    The special effects vacillate between defiantly shitty and endearingly resourceful, and Carpenter and O’Bannon's sense of humor covers a similarly narrow ground between Loony Tunes goofiness and dorm-room stoned.
  20. Diary of the Dead
    This one belongs with the leaders of the scare pack. Isn't it time that we give Romero his due? It's hardly an accident that Stephen King, Quentin Tarantino, Guillermo del Toro, Simon Pegg and Wes Craven recognize Romero as a master. He is.
  21. Peterloo
    Leigh’s visceral staging, especially in the climactic moments — brilliantly shot by his longtime collaborator/cinematographer Dick Pope — brings home the significance of a 200-year-old bloodbath that still speaks urgently to the disenfranchised.
  22. White Hunter Black Heart
    The film is talky and often stilted. But Eastwood’s compassion for the character, warts and all, feels genuine. His performance, like the movie, is a high-wire act that remains fascinating even when it falters.
  23. Auto Focus
    Michael Gerbosi's script might have reduced Crane to a clueless cliche were it not for the bruised humanity that Greg Kinnear brings to the role. Kinnear is dynamite.
  24. Dead Again
    A two-hour search for a pulse... A miscalculation from a prodigious talent who has forgotten that you squeeze the life out of romance when you don't give it space to breathe.
  25. Creed II
    This is not a reinvention of the wheel, just a rotation of the tires. For a story that started with a young man trying to follow in huge footsteps while blazing his own path, it might be unfair to play the compare game here. Yet Creed II does not give us anything but another, slightly superior Rocky sequel. It wins on points. Just don’t expect a knockout.
  26. Ben Is Back
    Ben Is Back ends up becoming into a penetrating look at how addiction wrecks lives from both sides of the parent-child equation. It’s unflinching and unforgettable.
  27. Wiener-Dog
    What happens to the film's title character — and the audience — shouldn't happen to a dog.
  28. Ever After
    The radiant Barrymore energizes Cinderella with a tough core of intelligence and wit.
  29. The Founder
    Like Apple founder Steve Jobs, Kroc – who died in 1984 – had a genius for marketing the talent of others. Is that a lesser gift? Not in these United States. Not then. And not in the age of Trump. Set more than a half century ago, The Founder proves to be a movie for a divisive here and now. Step right up. You might just learn something. God help us.
  30. Mulan
    Mulan emerges as a curious act of market negotiation. It is a perfectly fine movie; it will no doubt be meaningful for children, especially those who could afford to see more of themselves onscreen in heroines like Mulan. But its cast, its attitude, its overall eagerness to please — all benefits, one would think — don’t add up to a good movie. They add up to a blueprint of the movie this ought to be.
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