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. The Ghost of Peter Sellers
    Movie junkies, rejoice. Director Peter Medak has made an instructive and nightmarishly funny documentary about how actor Peter Sellers drove him crazy and nearly trashed his career.
  2. Irresistible
    In a twist ending, Stewart leaves us wondering if gaming the system is preferable to changing it. Can a political satire that dances on the border between silly and profound really make us take off the blinders, even for a few hours?
  3. You Should Have Left
    Enter at your peril…of major eyeroll strain.
  4. Babyteeth
    In the hands of first-time feature director Shannon Murphy — who crushed it in both of the Season Three Killing Eve episodes she helmed — and screenwriter Rita Kalnejais, who adapted her own play, Babyteeth rips past the hackneyed tropes of illness drama to dig out what’s fresh in the familiar.
  5. 7500
    Your chances for enjoying this will depend on giving up a search for depth and just strapping in for a B-movie hell ride.
  6. Miss Juneteenth
    Fort Worth native Channing Godfrey Peoples, making a striking feature debut as director and screenwriter, knows this place in her bones. She’s crafted a keenly observant and emotionally resonant debut film that feels authentically lived in.
  7. Aviva
    There is a sense of healing — emotional, personal, psychic, definitely and defiantly sexual — that this filmmaker seems to be chasing. The ultimate goal, however, is really just casting away creative shackles and just letting it all hang out without professional worry. Yakin has assuredly done that.
  8. Exit Plan
    It’s slog, slog, slog, all the way.
  9. Artemis Fowl
    The best way to handle this relentlessly nice movie that deserved a touch of nasty, is to enjoy the few flashes of what have been before the sheer heaviness of the production stomps out all the fun.
  10. Da 5 Bloods
    This is a lobbed grenade. But it’s also personal filmmaking at its prodding, profound best. This is a Spike Lee joint and a Spike Lee history lesson. Prepare to be schooled.
  11. Tommaso
    If this is Ferrara hashing through his issues, may his troubled soul never be totally purged.
  12. The Last Days of American Crime
    The idea of putting these images out there at this very moment, and pimping it out as “entertainment” is, frankly, nauseating. It goes from being a crime against an art form to something a little more toxic. No. Nope. Nuh-uh. Netflix, what the hell were you thinking?
  13. The King of Staten Island
    The result is both emotional and a comic knockout.
  14. You Don't Nomi
    In the context this documentary provides for the cult classic, it makes you want to see "Showgirls" again regardless of whether you belong to that cult or not.
  15. Becky
    This ultra-violent, ultra-stupid smarm-bomb deserves to take a few lumps before shuffling off to the digital boneyard.
  16. Shirley
    All praise to Elisabeth Moss, who brilliantly plays Jackson as a volcano on the verge of eruption, and director Josephine Decker, whose experimental "Madeline’s Madeline" reveled in leaving folks in a twist.
  17. The Vast of Night
    What makes it one of the best (and most unclassifiable) movies of the year is the hypnotic way it keeps re-inventing itself from scene to scene.
  18. The High Note
    What does work is hearing Grace take the stage for a new song, “Love Myself” that shows Ross can hold the screen as if by divine right. Loving her is easy — it’s swallowing the movie’s sudsy, soap-operatics that’s hard.
  19. On the Record
    How sexism, toxic masculinity, complicity, and not-so-borderline criminal behavior is baked into the music business gets pecked at but never fully unpacked.
  20. The Painter and the Thief
    You can be successfully creative or you can end taking a much more crooked path. As The Painter and the Thief so ably demonstrates, your life is worthy or compassion and consideration regardless.
  21. Military Wives
    In these times of pandemic isolation it’s no crime to look for the film equivalent of comfort food. Military Wives, though deeply reliant on formula and wrapped in a blanket of bland, fits the bill.
  22. The Trip to Greece
    By the time these two comedians are served dessert, they’re bickering over Coogan’s level of fame regarding a fake eulogy and trading celebrity impersonations. Fourth verse, same as the first. Only the scenery has changed.
  23. Inheritance
    One adjective you don’t hear much anymore is “preposterous,” defined as “contrary to nature, reason or common sense.” Yet the word applies perfectly to Inheritance, a blithering botch job of a thriller that begs the question: “Come on, are you f**king kidding me?”
  24. The Lovebirds
    The Lovebirds knows how to send out a laugh with a sting in its tail. That’s what they call inspired lunacy.
  25. Scoob!
    The original cartoon’s credit sequence, redone with modern computerized shininess, is indeed a gas to witness. The rest is basically corporate synergy, canine shenanigans, and hot air. Zoinks, indeed.
  26. Proximity
    A tale of alien abduction, Proxmity serves as an in-and-out impressive calling card for debuting feature writer and director Eric Demeusy.
  27. Blood and Money
    From its generic title to an ending you can see coming from outer space, Blood and Money follows a path rutted with enough clichés to cover the three million acres of Maine forest land where the film is set.
  28. Driveways
    The director’s sophomore feature brims with so many tender mercies, so many quietly observed moments, that even its light touch leaves a mark.
  29. Capone
    Aside from Hardy’s full-on commitment, Capone seems too dramatically dull and laborious to support its ambition as a subversive biopic or a deeply personal take on public vilification.
  30. Spaceship Earth
    We may never see the likes of something like this again, even as climate change makes the impetus behind Biosphere 2 that much more urgent. But if Spaceship Earth proves nothing else, it left behind some one hell of a stranger-than fiction yarn.
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