Rolling Stone's Scores

For 4,546 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:
4546 movie reviews
  1. Enjoying this wondrous wisp of a something is easy, describing it is hard. Luckily, Charlyne Yi is an enchantress.
  2. It's the work of a major talent. Apatow scores by crafting the film equivalent of a stand-up routine that encompasses the joy, pain, anger, loneliness and aching doubt that go into making an audience laugh.
  3. The Cove plays like a thriller. It has the breathless pace of a "Bourne" movie, but none of the comfort of fiction. This is documentary filmmaking at its most exciting and purposeful.
  4. Laugh you will, loud and often. In the Loop deserves to be a sleeper hit. The whole cast is stellar. And it proves that smart and funny can exist in the same movie, even in summer.
  5. Toss this ugly-ass crap to the curb, along with the other multiplex garbage, and see a romance that gets it right. I'm talking "(500) Days of Summer."
  6. A different kind of love story: an honest one that takes a piece out of you.
  7. Getting lost in the hypnotic Half-Blood Prince is what gives the movie its haunting power.
  8. You'll hoot and holler as it strips down its targets and sticks it to them, hardcore. Baron Cohen is the pure, untamed id of movie comedy.
  9. Aiming for the heartfelt hilarity of "Superbad," I Love You, Beth Cooper is just super bad.
  10. Public Enemies comes at you like Dillinger did: all of a sudden. It's movie dynamite.
  11. Here's the Iraq War movie for those who don't like Iraq War movies.
  12. The infuriating cop–out ending reduces the premise to mush. I wanted to scream. Here goes: Arghh!
  13. With Pfeiffer, 50, radiating uncommon beauty, grace and feeling, Frears uncovers a fragile story's grieving heart.
  14. Transformers 2 has a shot at the title Worst Movie of the Decade.
  15. Whatever Works feels like something out of time and, worse, out of step. Hell, Allen wrote the script back in the 1970s for Zero Mostel.
  16. A romantic comedy so numbing it feels like Novocaine.
  17. If you tamp down your expectations -- those gaping plot holes are dangerous! -- there is a storm of scary fun to be had in this Scandinavian splatterfest.
  18. Moon is a potent provocation that relies on ideas instead of computer tricks to stir up excitement.
  19. Eating can be one dangerous business. Don't take another bite till you see Robert Kenner's Food, Inc., an essential, indelible documentary that is scarier than anything in the last five Saw horror shows.
  20. It's a first-class ride. All aboard.
  21. The Hangover ain't art, but Phillips has shaped the hardcore hilarity into the summer party movie of all our twisted dreams.
  22. Rudolph, a comic force on "SNL," can speak volumes with the tilt of an eyebrow. She and Krasinski, of "The Office," are absolutely extraordinary. Ditto the film, which sneaks up and floors you.
  23. Will Ferrell and Danny McBride can find the dumb fun in anything. Too bad that Land of the Lost is so much less than anything.
  24. Up
    Up is a breathtaking ride into the realm of pure imagination.
  25. Horror-movie heaven.
  26. Stylishly shot on the high-def cheap, runs 77 potently sexless minutes. Its subject isn't erotica, it's commodities trading.
  27. Director Stephan Elliott uncorks a rare vintage of laughs tinged with heartache.
  28. The money shots of the living tableau are padded with jokes that feel embalmed before the actors get them out of their mouths.
  29. Bale even cedes the juiciest part to Aussie newcomer Sam Worthington, who is star material as a machine with a conscience. T4 is a mixed bag, but it's not f***ing amateur.
  30. Writer-director Olivier Assayas crafts a near perfect blend of humor and heartbreak, a lyrical masterwork that measures loss in terms practical and evanescent.

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