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. Scream VI
    The sixth time isn’t the charm here. And it’s certainly way, way less fun and clever than it thinks it is.
  2. Operation Fortune: Ruse de Guerre
    There are tiny glimpses of someone who has genuine chops behind the camera, almost but not quite enough to make you think that, given more time and focus, he could have made something out of these spare parts. Or maybe, just maybe, this whole botched Operation is designed to make his older, possibly lesser work look better.
  3. Creed III
    Creed III is very much a boxing movie. But it’s got a gnarled, contingent conflict at its center that’s a little too knowing for the movie not to have a little more than usual on its mind.
  4. Palm Trees and Power Lines
    Long before Palm Trees becomes an outright film about sex work, it establishes itself as a film about the dire social transaction that sex can be — an old story, tragic every time, and effective here.
  5. Cocaine Bear
    There are movies that were never going to be good, no matter the effort, and then there are movies that decide upfront to be bad and have a much easier time asking us to go with it. Cocaine Bear is the latter. It gives us what we’re asking for. Turns out, that isn’t much.
  6. The Quiet Girl
    The Quiet Girl is, quite simply, a genuine work of art by a genuinely empathetic artist, and one of the single most moving, heartfelt, and heartbreaking movies from any country in the last decade.
  7. Emily
    Frances O’Connor’s Emily, her directorial debut, takes a familiar literary biography and garnishes it with the right kind of creative liberties — the vibrant, suggestive kind.
    • 16 Metascore
    • 10 Critic Score
    Winnie-the-Pooh: Blood and Honey
    Blood and Honey is a hundred-acre wasteland, a witless gory bore, and in the end, you’re just depressed that anyone spent time working on it.
  9. Return to Seoul
    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.
  10. Ant-Man and the Wasp: Quantumania
    Until some sort of creative second wind blows in, casual moviegoers and deeply invested fanatics may have to simply keep enduring overly familiar, frustrating placeholders like this. Quantumania revolves around a powerful villain who wants to control time. The movie itself is merely killing time.
  11. Your Place or Mine
    Cut out the extra layers of nothingness piling up in the margins and you’ve got the kind of surreal tension that only romantic comedies, that dying but not dead genre, can offer: a case being made for romantic love, even when it doesn’t exist.
  12. The Outwaters
    Even when it seems at risk of spinning its wheels into oblivion, there’s an urgent pleasure in watching it spin.
  13. Magic Mike's Last Dance
    Tame is what Magic Mike’s Last Dance is — what it apparently wants to be, what it becomes in exchange for its new, cardboard-simple, ostensible pro-woman worldview. The movie’s pleasures mute themselves beneath its good intentions. It wants to be about what women want. But it feels like it never asked.
  14. Full Time
    Full Time works because of, not despite, its cutting thrills. The anxiety we feel as we watch is very much the point. Julie is living on the edge. The movie marvels at her ability to keep her balance. And it laments the fact that her survival should depend on it.
    • 52 Metascore
    • 40 Critic Score
    80 for Brady
    Making a warm movie about friendship as a tribute to this weirdo is an impossible task.
  16. One Fine Morning
    One Fine Morning is yet more evidence of how far Mia Hansen-Løve can push her naturalistic style, using seemingly plain storytelling to advance intellectual ideas that rarely feel drawn from the mind because they are so in tune with felt experience: feelings and attractions, the passing of time, the sense of a life being lived. This movie is no different.
  17. Knock at the Cabin
    The fact that Shyamalan seems to be working out some issues onscreen doesn’t stop him from crafting a thriller, and one which goes about its job with steady determination in Cabin’s cryptic, superior first half.
  18. You People
    The film can’t figure out if it wants to be a love story or social commentary, and ends up doing neither very well.
  19. Eileen
    Eileen wants us to notice how the psychological brick house it’s been building all along explains the outcome. But the outcome almost doesn’t matter. The real joy is in the hungers we tasted along the way.
  20. Magazine Dreams
    It fails as a character study because the murky inner workings of the character are all manifest, outwardly, in turns and attitudes that you can see from a mile away and are no wiser for being able to predict.
  21. Cat Person
    You can’t say that Cat Person is shy about taking the medium to task for selling a romantic ideal that’s more than a little curdled. If only it was this rigorous and incisive about the source material itself.
  22. Still: A Michael J. Fox Movie
    Guggenheim and his subject also want to show what it’s like to be Michael J. Fox right now, and that’s really where this documentary, which premiered at Sundance today, turns into something else entirely — something beyond praise or tragedy.
  23. Infinity Pool
    So often, you can feel filmmakers straining themselves to come up with more extreme ways of shocking and awing you. With this writer-director, you get the sensation that such hallucinogenic, nerve-scrambling sensationalism comes naturally. You wouldn’t say that his agent provocateur touch is subtle. But it is expert.
  24. The Hatchet Wielding Hitchhiker
    It’s far more effective as an indictment against media rapaciousness, as well as their treatment of the homeless and mentally unwell.
  25. The Son
    The film is moving. It’s also a bit reductive. The flaw is in the way that one enables the other.
  26. Saint Omer
    Diop’s direction of Saint Omer is spare in style but dense in emotional intelligence, heavy with its own inquiries.
  27. Sick
    Whether the ideas they’re toying with here offer a booster shot of relevance to a modern slasher story is, frankly, debatable. What we can say is: congratulations on being both first out of the gate and an instant subgenre footnote.
  28. Plane
    Plane is, in essence, the Frontier Airlines of action films: It’s cut-rate to a fault, makes you endure a lot of unpleasantness on the way to its final destination, and still leaves you with the distinct feeling that you didn’t even get what you paid for.
  29. Skinamarink
    Skinamarink isn’t scary because of what it depicts. It’s scary because it already knows that our imagination will do half of the work.
  30. Alcarràs
    Simón refuses to allow Alcarràs to settle for being just one thing; she drifts between her characters’ moods with rare realism.
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