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. Oppenheimer
    Oppenheimer is one of those shoot-for-the-moon projects that feels thrilling and wonky, brilliant and overstuffed, too much and yet not enough. It’s also a movie that brings to mind the difficult era-spanning epics of yesteryear, from Reds to The Right Stuff, and is a movie made by adults for adults yet done with the sweep and majesty we now associate with movies made for kids and teens.
  2. Barbie
    This is a saga of self-realization, filtered through both the spirit of free play and the sense that it’s not all fun and games in the real world — a doll’s story that continually drifts into the territory of A Doll’s House.
  3. Final Cut
    It’s a fast, not as cheap, and much better than decent cover version of another song, one that knows very well that it’s a cover version.
  4. 20 Days in Mariupol
    20 Days in Mariupol gives you a sense of life during wartime that isn’t an abstraction, some distant thing happening to people thousands of miles away. The intimate feeling of what it’s like to have your country invaded, your living spaces demolished, and your closest family members killed before your eyes is palpable, and also gut-wrenching.
    • 36 Metascore
    • 20 Critic Score
    Sound of Freedom
    Apart from its relentless messaging, the movie is hobbled by a near-total absence of procedural logic.
  6. Earth Mama
    Savanah Leaf’s slice-of-life movie is full of these revelatory moments — sometimes lyrical, sometimes gritty, often swirling the two together — and the former Olympian-turned-filmmaker‘s feature debut pitches itself somewhere between the detail accumulation of cinéma vérité and the feeling you’ve stepped into someone’s dream.
  7. Joy Ride
    Sex, drugs, profanity, penises, puke, poop, the use of “party” as a verb — Joy Ride embraces these reliable gross-out-comedy standbys with a gleeful sense of gusto. It’s also out to prove that you can make something novel without reducing it to being a novelty.
  8. Mission: Impossible – Dead Reckoning
    Dead Reckoning never rises to that best-in-series movie’s level, though McQuarrie (and cowriters Bruce Geller and Erik Jendresen) concocts set pieces and the cast carves out stand-alone moments that stick with you past the credit roll.
  9. Run Rabbit Run
    It’s capable of quickly upshifting from tense to intense, and also of having the appearance of a scary movie rather than being one.
  10. Rock Hudson: All That Heaven Allowed
    It’s best to look at All That Heaven Allowed less as a Rock doc and more as a chronicle of Hollywood’s system of subterfuge and suggestion, all built around protecting and/or punishing those who preferred the company of their own sex.
  11. No Hard Feelings
    Not even J-Law off the nice-young-lady leash can save something this lazy and desperate to offend, however. The movie simply isn’t on her level. Or really much of any level at all.
  12. The Stroll
    The Stroll is a vital work of recent urban history. Even if you wouldn’t want to have lived there, you won’t regret visiting.
  13. Take Care of Maya
    With the hospital and its primary representative in the case, Dr. Sally Smith, refusing to cooperate with the filmmakers, Take Care of Maya is necessarily one-sided. That side is rendered with sympathy and sensitivity, and a lingering, frustratingly unanswered question: How exactly does something like this happen?
  14. Stan Lee
    That’s the Lee you get in this near-hagiography: a peek at the man, a whole lotta the myth, and almost none of the messiness. Definitive isn’t the goal here, clearly. Printing the legend on a splash page is. It’s less a doc than a Stan Lee infomercial.
  15. Elemental
    The fact that Elemental can’t seem to get past its own elevator-pitch premise or avoid tripping over its teachable lessons, much less wring laughs and sobs from an opposites-attract love story, is a bit of a shock. It’s so busy trying to pen an op-ed that it forgets to give it a narrative structure and make it emotionally resonate. That’s just elementary.
  16. Blue Jean
    Blue Jean manages to take an ancient anti-LGBTQ+ law and use it to foster a story of personal liberation. But it also knows that when your basic rights are threatened, no matter who you are or how you live or who you love, everything most assuredly is political.
  17. Transformers: Rise of the Beasts
    Beasts puts its audience on cruise control, easy and painless. It makes the toy aisle look pretty good.
  18. The Flash
    This much-beleagured cinematic universe has finally hit upon a winning film, and one that will be forever tainted.
  19. Lynch/Oz
    In a perfect world, viewers would get college credit after watching Lynch/Oz. You may not walk away any closer to a degree, unfortunately, but you will definitely land over this rainbow with an entirely different view of a maverick filmmaker’s work, as filtered through Hollywood canon fodder.
  20. Past Lives
    A movie that liberates your tears and makes you fall in love with it. It is almost assuredly predestined to be the single best movie you see this year.
  21. Reality
    Sweeney has finally got her serious-actor moment and delivered.
  22. Spider-Man: Across the Spider-Verse
    The thrill of the multiversal new is gone. Everything else, however, is extra-webbed for your pleasure.
  23. You Hurt My Feelings
    It’s the perfect movie for Louis-Dreyfus to flex her comitragic chops.
  24. Asteroid City
    To see this sui generis Amerindie star fall to earth with a resounding thud, leaving just a stunningly designed and studiously empty hole in its wake, is a cosmic bummer.
  25. Killers of the Flower Moon
    Above all, it’s a Martin Scorsese picture, brimming with reverence for a culture that survived a horrible trauma as it is filled with exhilarating flourishes, film history references, and explorations of the faultline between the sacred and profane. And yes: It’s a masterpiece.
  26. White Men Can't Jump
    The updated, oversized mayhem is emblematic of a culture and a movie in which the outrageous is too often deemed an improvement, and showbiz suits can’t seem to leave cult classics well enough alone. Thinner than Victor Wembanyama and ever eager to please, the new White Men tries way too hard and acts like a teammate more interested in hamming it up than hitting the open man.
  27. Fast X
    It’s a numbing collage of fiery, stitched-together spectacles. You can feel your IQ draining with each passing minute.
  28. Indiana Jones and the Dial of Destiny
    That remembrance of Saturday matinees past is there for a bit in Indiana Jones and the Dial of Destiny. Until it very much isn’t, and you’re largely left with what you imagine you’d get if you programmed a 21st century A.I. program to write up nostalgia-bait for the children of the late 20th century.
  29. Anna Nicole Smith: You Don't Know Me
    You Don’t Know Me, directed by Ursula Macfarlane (who made the 2019 Harvey Weinstein exposé Untouchable), doesn’t quite know what to do with this tension, saving much of its complexity for the waning moments rather than giving its heroine’s story deeper shading from the start. But it remains a visually engaging portrait that depicts Smith as more than just a little girl lost.
    • 32 Metascore
    • 50 Critic Score
    Love Again
    Whatever the movie’s sporadic charms, it’s simply too small for Celine, who can only be matched by a drama with the sweep and scale of Titanic.
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