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For 3,730 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 4 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Oppenheimer
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Positive: 2,446 out of 3730
  2. Mixed: 1,183 out of 3730
  3. Negative: 101 out of 3730
3730 movie reviews
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  1. Never Ever
    Amalric, these days persuasively settling into scuffed middle-aged roles, is effective as ever, but still maintains an anxious look; while Roy’s sometimes ethereal presence strikes a forceful but delicate note as a woman who is at once facing a mystery and who is at the same time a mystery herself.
  2. My Entire High School Sinking Into the Sea
    My Entire High School Sinking Into The Sea is slight and uneven, but its quirky, handmade aesthetic nicely conveys its characters’ adolescent vulnerability and restless spirit.
  3. Mascots
    There are plenty of solid laughs in Mascots — everything from jokes about furries to throwaway bits involving obscure cable channels — but what’s disappointing is that there’s not a great overr-iding idea that ties all the gags together.
  4. Lady Macbeth
    Superbly acted and executed, this spare piece of storytelling marks an assertive feature debut for theatre and opera director William Oldroyd.
  5. The Woman Who Left
    At once over-repetitive and less surprisingly digressive than some of his other films, The Woman Who Left may not represent Diaz at his absolute peak, but it’s a powerful, thoughtful melodrama that pulls you into its world and delivers a number of irresistible emotional coups.
  6. The Edge of Seventeen
    Fremon Craig doesn’t radically alter the conventions of the coming-of-age narrative, and so a general predictability settles over the proceedings pretty quickly. With that said, though, she does a good job observing the relationships between her central characters.
  7. I Called Him Morgan
    Collin attempts to do more than recount facts; if he can’t always wholly capture the figures at the film’s centre, he can convey a sense of the time and place that Lee and Helen inhabited.
  8. Frantz
    Frantz is arguably one of the straightest films Ozon has made – in both the dramatic and the sexual senses – but his complex sensibilities and fine-tuned irony are very evident in a mature work that transcends genre pastiche to be intellectually stimulating and emotionally satisfying.
  9. Denial
    Jackson’s film is best enjoyed for the quality of the performances and the typical richness of Hare’s screenplay.
  10. Colossal
    For all its originality, the film fails to leave much of an impression.
  11. Carrie Pilby
    This is not a film which challenges the stereotypes of teen coming of age movies. However the dialogue is sharp, and Powley’s comic timing is well-tuned.
  12. Lion
    If Saroo’s story seems out-of-this world, the team behind this film have risen to meet the challenge it sets. There may be a sense of inevitability about Saroo’s ultimate destination, but what counts here is the journey.
  13. Jackie
    Larraín’s highly varied visual invention and command of complex structure serve as a reminder of how vitally an imaginative director can skew what otherwise might have emerged in more mainstream colours.
  14. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    What’s best about the film is how Cedar and Gere have dreamed up a character who’s equally desperate and preternaturally ingratiating.
  15. Rats
    With Spurlock and Takal throwing every horror trope on the screen, Rats is a delectably awful experience which, grimly fun though it may be to watch, hopefully won’t lead to a Cockroach sequel.
  16. A Family Affair
    A Family Affair is by turns fascinating and futile, running the risk that by exposing the heartbreak of one family it will repel all those with their own unresolvable family sadness.
  17. Tanna
    It’s a beautiful odyssey with strong spiritual undertones.
  18. Chuck
    The ‘I could have been a contender’ brand of sports movie gets a twist in this tasty, if minor-key, biopic.
  19. The Beautiful Days of Aranjuez
    Some moments of poetry and emotional truth lurk in among the pretentious high grass. But the sometimes baffling dialogue is a serious subtitle endurance test ­for non French-speaking audiences.
  20. Deepwater Horizon
    If nothing else, Deepwater Horizon makes a case for going back to basics with action films. It’s classically framed, executed, and feels like the real deal, and while it clearly boasts some fine effects work, it manages to lose the cartoonish aspect of so many recent tentpoles.
  21. Barry
    In presenting its story as a portrait of a budding great statesman discovering his destiny, Barry is neither insightful nor poetic enough to justify its increasingly didactic approach.
  22. American Pastoral
    Ewan McGregor’s directorial debut eventually finds its own emotional core, zeroing in on the tragedy that befalls a seemingly perfect life once a man’s wilful daughter torpedoes it.
  23. All I See Is You
    Marc Forster’s meandering, slow-burning tale has elements that might have attracted Polanski or Almodovar but eventually settles for a psychological thriller that is a little too enigmatic for its own good.
  24. The Age of Shadows
    The first half of Age of Shadows feels muddy as momentum builds; the latter stages boast a cinetic energy - cutting a violent melee to classical music (in this case Ravel’s Bolero), may be a tribute to John Woo, but it’s stunning nonetheless.
  25. The Assignment
    This is a film which doesn’t take itself very seriously, and it will work best with an audience which takes the same approach.
  26. Sing
    Sing is colourful, yet at almost two hours, it is also long. Still, if kids aren’t drawn to one singing animal (or familiar voice), there’s always another around the corner, holding up the tentpole.
  27. Blair Witch
    It’s an intense, imaginative piece of work – which treads over familiar ground but modestly ventures a bit further in the climax.
  28. A Monster Calls
    The abutting of Conor’s conscious and unconscious states justifies the pullulating images, but the film’s overwrought tone can grate.
  29. Snowden
    Stone’s mixture of paranoid thriller, political commentary and romantic drama keeps Snowden feeling busy without ever being particularly engrossing or enlightening. Frustratingly, Snowden remains a ghost in the machine.
  30. Command and Control
    A terrifying disaster thriller.
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