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. Licorice Pizza
    Anderson may be concocting his own personal flashback to a funkier age of innocence, but he lets these two make it their own double-act as well. Then he generously invites an audience in as well.
  2. Requiem for a Dream
    No one interested in the power and magic of movies should miss it.
    • Rolling Stone
  3. Do the Right Thing
    Lee offers no reassurance, no uplift, no call for all races to join hands and spout liberal platitudes. What he does offer is a devastating portrait of black America pushed to the limit, with the outcome still to be written. There’s only one way to do the wrong thing about Do the Right Thing: that would be to ignore it.
  4. Iris
    Director Richard Eyre has struck gold. Twice. Dench and Winslet are a riveting matchup.
  5. All Dirt Roads Taste of Salt
    It announces right from the start that you are not just watching a movie. You’re experiencing an immersive portrait of a life and a landscape intertwined, and entering what feels like a feature-length sense memory.
  6. Boyhood
    Want to know what it's like to be in on the discovery of a new American classic. Check out Boyhood. Richard Linklater's coming-of-age tale is the best movie of the year, a four-star game-changer that earns its place in the cultural time capsule.
  7. The Humans
    Every one of the performances is, to say the least, an example of what talented actors can bring to a piece of character-driven tragedy; there’s not a single weak link in this chain, while the collective chemistry suggests an instant history of affection, conflict, and shared cringing.
  8. The Brutalist
    It’s not just that they don’t make movies like this anymore — of course they don’t! — so much as no one bothers to tell these types of sprawling narratives with this level of storytelling, chops, nerve and verve.
  9. Robot Dreams
    To call it the best animated film of the last few years is to undervalue it. Berger’s take on this graphic novel is both a high point of the medium and a reminder of why we go to the movies in the first place. It’s a film lover’s dream come true.
  10. WALL-E
    You leave WALL-E with a feeling of the rarest kind: that you've just enjoyed a close encounter with an enduring classic.
  11. Short Cuts
    Part of the miracle of Robert Altman's triumphantly fierce, funny, moving and innovative Short Cuts is that you can't get this movie out of your head. You keep playing it back to savor its formula-smashing audacity, its peerless performances and its cleareyed view of blasted lives.
  12. Moonlight
    Moonlight, which announces Jenkins as a major filmmaker, gets you good. It stays raw from first scene to last.
  13. Crouching Tiger, Hidden Dragon
    Ang Lee, a world-class director working at the top of his elegant form, has done something thrilling. For all the leaping action, it's the film's spirit that soars.
    • Rolling Stone
  14. Shadow of the Vampire
    It's a mesmerizing spectacle.
  15. Do Not Expect Too Much From the End of the World
    Do Not Expect builds on his previous film’s fractured style and broadens the range of his crosshairs, but the puckishness and past-the-boiling-point sense of wrath feels even sharper this time around.
  16. A Few Good Men
    That the performances are uniformly outstanding is a tribute to Rob Reiner, who directs with masterly assurance, fusing suspense and character to create a movie that literally vibrates with energy.
  17. The Exorcist
    There's something elemental about The Exorcist, even with the new hopeful ending that betrays the bleak original. [2000 re-release]
  18. Foxcatcher
    The hypnotic and haunting Foxcatcher can prove its worth as one of the year's very best films. Steve Carell, Channing Tatum and Mark Ruffalo give the performances of their lives.
  19. The Boy and the Heron
    No one needed further proof that he’s a master. This meditation on grief and growing up does solidify the position, however, that Miyazaki remains the greatest living animator today, period.
  20. When Harry Met Sally...
    A ravishing, romantic lark brimming over with style, intelligence and flashing wit.
  21. Sideways
    Pure movie bliss.
  22. Blow
    Scorches the screen with a badass bravado all its own. Smart, sexy, funny and dangerous this high-wire act is a movie and a half.
    • 84 Metascore
    • 100 Critic Score
    Are You There God? It's Me, Margaret
    In the hands of director Kelly Fremon Craig (The Edge of Seventeen), Are You There God? It’s Me, Margaret isn’t just about adolescence — it’s about the state of womanhood in general, with all of the accompanying sacrifices and vexations and humiliations that come with it.
  24. Insomnia
    It's taut, tense and terrific.
  25. Universal Language
    There is no single category that you can slot Rankin’s mix of a wink, a nudge and an embrace into, so we guess “lo-fi masterpiece” will have to do until a better option comes along.
  26. You Can Count on Me
    There may be bigger, costlier, weighter films this year. There's none lovelier.
    • Rolling Stone
  27. Solaris
    Clooney brings raw intensity to his role; his scenes with McElhone are rooted in a fierce romantic yearning.
  28. Smoke Signals
    Beach and Adams give remarkable performances that grow in feeling and intensity.
  29. Truly Madly Deeply
    Writer and first-time director Anthony Minghella lays on the whimsy a bit thick at times, but his wryly funny and heartfelt observations on sorrow go down much easier than the Hollywood brand of lump-in-the-throat histrionics.
  30. The Human Voice
    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?
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