Rolling Stone's Scores

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For 4,545 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: 2,928 out of 4545
  2. Mixed: 987 out of 4545
  3. Negative: 630 out of 4545
4545 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. Mud
    In the hands of Nichols, Mud emerges as a thing of bruised beauty. There's magic in it.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Trance
    Dawson digs deep and nails every nuance, making the dizzying suspense resonate with raw emotion. She is, in a word, electrifying. Even when the wheels come off the too-busy plot, so is the movie.
  13. Room 237
    Ascher's unique and unforgettable film is a tribute to movie love. I couldn't have liked it more.
  14. The Host
    The Host basically comes down to a vote for Team Jared or Team Ian. I voted myself into oblivion about half an hour in. Niccol, who once added mystery and suspense to the sci-fi of 1997's "Gattaca," is no match for the giant marshmallow that is The Host.
  15. The Place Beyond the Pines
    It's a beast of a movie, an emotional roller coaster that threatens to go off the rails, and does. But Cianfrance, working from a scrappy script he wrote with Ben Coccio and Darius Marder, takes you on a hell of a ride.
  16. Gimme the Loot
    Instead of the easy attitudinizing that is the default position for teen comedies, Gimme the Loot fills each frame with raw talent and exuberance.
  17. The Sapphires
    You could call it an Aussie "Dreamgirls." I'd call it a blast of joy and music that struts right into your heart.
  18. Admission
    I'd see Tina Fey and Paul Rudd in anything, but this is pushing it. Admission is so slight that a breeze could flatten it.
  19. The Incredible Burt Wonderstone
    Magicians have been pulling rabbits out of hats for ages. And yet, with all this talent, no one can make a decent script materialize.
  20. Spring Breakers
    As Alien, a gun-crazy Florida drug dealer with tats, beaded cornrows and a grill any rapper would envy, Franco is a bug-f--k blast. Too bad the movie itself is rarely as outrageous as he is.
  21. Beyond the Hills
    Exorcist junkies should look elsewhere. Instead of spinning heads and projectile puke, Mungiu offers nuance and provocation. The result is quietly devastating.
  22. Emperor
    Only near the end, when MacArthur and Hirohito meet in person, do we get fireworks. And that's thanks to Jones, who makes sure this old soldier will never die in our memory. As for this tepid movie, it just fades away.
  23. Oz the Great and Powerful
    There's no Judy Garland songs, no Scarecrow, no Tin Man, no Cowardly Lion. There's also no simplicity, no magic, no truth.
  24. Jack the Giant Slayer
    It's a bloodless, gutless piece of PG-13 fodder, geared to go down easy. That it does. It practically evaporates while you're watching it, lulling when you most want it to levitate.
  25. Stoker
    Stoker is Park's darkly funny, deliciously depraved riff on Hitchcock's "Shadow of a Doubt."
  26. No
    No grabs you hard, no mercy, and keeps you riveted.
  27. Safe Haven
    I hate Safe Haven. It's a terrible thing to do to your Valentine.
  28. A Good Day to Die Hard
    Ah jeez. I actually wanted this one to be good. Or at least decent. Or at least a reminder of what got us all fired up about the first Die Hard in 1988. But A Good Day To Die Hard, the fifth in a creatively exhausted series, is total crap.
  29. Beautiful Creatures
    It's a bigger yawn than it sounds.
  30. Side Effects
    Side Effects is Soderbergh in full, flinty vigor. It's anything but a formula murder mystery.
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