Rolling Stone's Scores

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For 4,544 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: 2,927 out of 4544
  2. Mixed: 987 out of 4544
  3. Negative: 630 out of 4544
4544 movie reviews
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  1. Space Jam: A New Legacy
    An exercise anchored to a likable LeBron charmfest, melding multiple forms of animation, recycled cartoon jokes, and the basic plot of the original Space Jam, but with a twist that updates the original for our new, streaming content century.
  2. Roadrunner: A Film About Anthony Bourdain
    You do not need a documentary to prove that the tour guide of No Reservations and Parts Unknown contained multitudes. Any viewer could see him mature and mellow out, or at the very least become more meditative, as seasons progressed. But Roadrunner, Neville’s portrait of the late, beloved Bourdain, would like to give those other sides a bit more screen time.
  3. Pig
    It’s a good-looking, well-acted movie with a solid kicker. As for the odyssey of emotional nuance that its style and portent seem to promise, it digs beneath the surface, but to a shallower depth than it seems to think.
  4. Black Widow
    Credit is due to Pugh and Johansson, most of all, for proving, in the movie’s opening chunk, that their foes-then-friends dynamic could satisfyingly hold an entire movie.
  5. No Sudden Move
    It’s a thrill ride from a director who, recently prone to intriguing, one-off experiments, knows we didn’t exactly need reminding that he’s still got it, but reminds us anyway — flaunting what he has because, well, he can.
  6. Zola
    Bravo, abetted by a cast that couldn’t be more game, turns a classic case of “These white people will be the death of me” — a familiar idea among the rest of us, I think — into a dazzling, once-every-blue-moon experiment in how to tell an utterly modern, utterly mediated, confusing, offbeat story.
  7. Lydia Lunch: The War Is Never Over
    The War Is Never Over is as much about trauma and processing and empowerment — the real kind, not the bumper-sticker-slogan kind — as it about music, or a musician, or a cultural moment. What it leaves out of Lydia’s history is substituted by what it adds to understanding her story.
  8. The Ice Road
    Neeson has made better pulpy B movies, and he’ll probably make worse ones than this. The good news is that, like buses, a new film from the star tends to come around every few hours, so you can skip this one without regrets.
  9. F9: The Fast Saga
    It becomes a lot of movies at once. Some fly, some don’t, but the sum effect is that it winds up spinning its wheels, its hyperkinetic delights (all I’ll say is: magnets) awash in too many strands of background drama.
  10. False Positive
    It’s the product of a satirical ambition that lacks the wit to land any heady blows; the horror mastery to be even glancingly scary; the intellect to make those thrills invigoratingly existential; and the sense of humor to make it entertaining. What it is, is limp, dull, half-cocked — with a few good performances from good enough actors that hints at how a smarter movie might have worked.
  11. Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    Summer of Soul is both a tribute to the artists and, just as importantly, their audience — which is what makes it not just a great concert film but a great documentary, period.
  12. I Carry You with Me
    It is a gorgeous film, and one that deserves to be seen on a giant screen as much as that other only-in-theaters release this weekend, F9. And even when I Carry You With Me becomes so lost in its aesthetic that you worry it’s losing focus, this impressionistic approach doesn’t take away from what is an intimate, extremely personal story of two men fighting to build a life with each other.
  13. Good on Paper
    If you’re seeking anything chewier about the pitfalls of modern dating, or con artistry in the age of social-media enabling, or what women want — from careers to friends, life, love — look elsewhere, pilgrim. But when Shlesinger opens the passenger door to her star vehicle and turns it to into a full-blown buddy comedy, the movie goes from being merely good on paper to being great onscreen.
  14. Luca
    The mixture of the fantastic and the sublime that’s constitutes the Ghibli house tone is very much what Casarosa & co. aiming for, though the many, many bits of business onscreen suggests a homecooked meal of Disney/Pixar leftovers.
  15. Summer of 85
    François Ozon’s Summer of ‘85 — which adapts the YA novel Dance on My Grave, by Aidan Chambers — is moving but contained affair, aflush with overwhelming feeling but also distant from that feeling, probing but not always revealing, sensuous and charismatic but not always easy to like.
    • 80 Metascore
    • 70 Critic Score
    The Sparks Brothers
    Ultimately, though, The Sparks Brothers makes a strong case for the duo’s musical greatness.
  17. The Hitman's Wife's Bodyguard
    There’s an art to making action films, and that artistry is as AWOL here as it is in the first movie.
  18. In the Heights
    An aspirational immigrant story that hits most every mark of the genre, but flows and overlaps and grows dense in unexpected ways.
  19. Censor
    The whole thing takes on a level of fractured fairy-tale storytelling that nods to both the Brothers Grimm and the father-figure Cronenberg.
  20. Infinite
    Maybe the most notable thing about the movie is Wahlberg himself, who hypes up that hapless “Who, me? Aw, shucks” vibe that works so well for him in comedies but utterly fails him here.
  21. The Conjuring: The Devil Made Me Do It
    The movie was directed by Michael Chaves (The Curse of La Llorona) who, in the case of The Devil Made Me Do It, reveals a finer hand with the melodrama of possession — the utter internal chaos of it, the feverish disorientation — than with jump scares. The jumps: not so jumpy. More or less predictable.
  22. Cruella
    Cruella is never more galvanizing than its petty tit-for-tat and power wrangling.
  23. New Order
    It is not only bludgeoningly nasty but also, viewed from a May 2021 standpoint, quite staggeringly un-prescient.
  24. A Quiet Place Part II
    Part II feels like just another case of sequel-itis, something designed to metastasize into just another franchise among many. Just get through this, it says, and then tune in next year, next summer, next financial quarter statement or board-meeting announcement, for the real story.
  25. The Dry
    The Dry is solid and appreciably sad but, for all the virtues of its rough symbolism and intriguing backstory, almost too jampacked with discovery for its own good.
  26. Final Account
    An oral history of a once-broken, brainwashed nation, Final Account is the end result of Holland’s efforts to collect testimonies on the unthinkable before those who were there are gone.
  27. The Killing of Two Lovers
    Robert Machoian’s debut feature, The Killing of Two Lovers, has a tough psychological knot braided right through its center, one that it doesn’t quite satisfyingly untangle — not that it exactly means to.
  28. Those Who Wish Me Dead
    I imagine that, for some, the movie’s structure will play unevenly, seem a little weird in its jumping and drifting. But the contours of this story, and the tinges of genuine melancholy thrown into our path along the way, are very much to the point. They make it all work, and make it worth it.
  29. The Woman in the Window
    You go in with high expectations about what this collection of talent can do with this bats**t pulp fiction. You leave feeling like you owe Brian De Palma a thousand apologies.
  30. Riders of Justice
    Such wild zigzags in tone — between bumbling physical comedy and lightly stinging satirical observation, between heartbreaking vulnerability and bursts of gleefully vicious, slickly choreographed violence — ought not to work at all. And yet they do, thanks to Jensen’s calm, slightly wry command of the story, and a cast that have all understood the assignment, even when their respective assignments are all quite different.
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