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. 20 Feet from Stardom
    Sometimes it's racism; sometimes bum luck; sometimes it's producer Phil Spector putting Love's voice in another singer's mouth. You watch. You hear the gospel spoken in the voices of these women. And you marvel.
  2. The Bling Ring
    Emma Watson is sensational as Nicki.
  3. Man of Steel
    Caught in the slipstream between action and angst, Man of Steel is a bumpy ride for sure. But there's no way to stay blind to its wonders.
  4. This Is the End
    There's no way you won't have a blast. In their directing debuts, Rogen and Goldberg come up aces, mixing hilarity and horror like pros and never letting up on the killer momentum.
  5. Tiger Eyes
    The result is an uncommon intimacy, the kind you find in a Judy Blume novel. Her grit and grace are all over this heartfelt adventure of a movie. She gives it a spirit that soars.
  6. Much Ado About Nothing
    Whedon, without skimping on the tale’s tragic undercurrents, has crafted an irresistible blend of mirth and malice.
  7. The Internship
    A flabby farce that might win a pass at the box office because it's just so cute and family friendly. But where's your edge, guys? Where are the laughs that walk a tightrope?
  8. The Purge
    DeMonaco shows a sure hand at building tension. Too bad the film devolves into a series of home-invasion clichés. The Purge was almost on to something.
  9. The East
    You leave The East with a hunger to know more and a good idea of where to look. For Marling and Batmanglij that counts as mission accomplished. For audiences, it’s that rare thing these days – a movie that matters.
  10. Now You See Me
    I left this movie feeling I’d been had. And not in a good way.
  11. After Earth
    The young Smith has energy, but not the acting chops. And he's no miracle worker. The burden of carrying this dull, lifeless movie is just too much. And it's hell on an audience. It's not a good sign when you sit there thinking – Make. It. Stop.
  12. Before Midnight
    Whatever a modern love story is, Before Midnight takes it to the next level. It's damn near perfect.
  13. Fast & Furious 6
    It’s kickass trash that never pretends to be more. Bonus points for that.
  14. The Hangover Part III
    What happened, bitches? Didn't the letdown of The Hangover Part II – basically Part I set in Thailand but minus the laughs – teach you anything? Guess not.
  15. Frances Ha
    Baumbach, in his most compassionate film since The Squid and the Whale, catches Frances in the act of inventing herself. It's a glorious sight to see.
  16. Star Trek Into Darkness
    Kudos to Abrams for going bigger without going stupid. His set pieces, from an erupting volcano to the hell unleashed over London and Frisco Bay, are doozies. So's the movie. It's crazy good.
  17. Stories We Tell
    The result, with its flashing perspectives and stealthy wit, is unique and unforgettable.
  18. The Great Gatsby
    There may be worse movies this summer than The Great Gatsby, but there won't be a more crushing disappointment.
  19. Pain & Gain
    In between scenes of the muscleheads torturing their victim, Bay indulges his taste for treating women as sluts and grisly brutality as a nifty excuse for a cheap laugh. Pain and Gain is personal all right. You leave these characters with the distinct impression that they're Bay's kind of people.
  20. What Maisie Knew
    Cartwright, find something sadly timeless in a child torn apart in a custody battle that no one wins, least of all the child.
  21. Scatter My Ashes at Bergdorf's
    You don't have to be in vogue to enjoy this stylish ride through Bergdorf's. It's a surprise package to die for. Miele and his virtuoso cinematographer, Justin Bare, show how fashion can be aspiration, a model for dreaming the impossible.
  22. Greetings from Tim Buckley
    Badgley, best known for playing "lonely boy" Dan Humphrey on Gossip Girl, is a revelation. He wears his role like a second skin.
  23. Iron Man 3
    For all the clanking armies of iron knights on display to dazzle the eager kid in each of us, this summer epic rings hollow. There's no one home inside the suit.
  24. At Any Price
    Bahrani is a gifted filmmaker. But he shoots himself in the foot by throwing in a contrived plot device that creates drama at the expense of credibility. Suddenly, we're isolated from a film that had made us believe. It's a breach of trust that comes at too high a price.
  25. Mud
    In the hands of Nichols, Mud emerges as a thing of bruised beauty. There's magic in it.
  26. Oblivion
    For all the bells and whistles – an electronic score by M83, a screen-busting Imax presentation and Cruise going full throttle – Oblivion feels arid and antiseptic, untouched by human hands. Bummer.
  27. To the Wonder
    Malick keeps pushing Affleck to the corner of the frame, as if he's more interested in the women. I found it difficult to maintain interest in anyone. If there's such a thing as a feather that weighs a ton, it's To the Wonder.
  28. Disconnect
    Bateman, in a rare dramatic role, is just tremendous, finding depths of emotion where they're least expected. Disconnect works they same way. Even when it trips on its ambitions, it hits home.
  29. 42
    Given Helgeland's rep as a screenwriter (including an Oscar for 1997's L.A. Confidential), it rankles that 42 settles for the official story. The private Robinson, who died of a heart attack at 53 in 1972, stays private. We stay on the outside looking in. Let it be.
  30. The Company You Keep
    There's enough plot to stuff a miniseries, but Redford never loses sight of the human drama. Martyrdom is not conferred, nor is reinvention equated with redemption. Drawing skillfully on a first-rate cast, Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.
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