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For 535 reviews, this publication has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 3.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Past Lives
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Positive: 243 out of 535
  2. Mixed: 236 out of 535
  3. Negative: 56 out of 535
535 movie reviews
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  1. The Christophers
    As this legitimately clever story begins to unfold it initially seems like director Steven Soderbergh made a talkier, smaller-scale spiritual sequel to his Ocean’s 11 heist films. And if The Christophers was just a straight-forward thriller, and it would have been a nifty little entertainment. But screenwriter Ed Solomon repeatedly surprises us with one plot twist after another. He and Soderbergh really invest in Sklar and Lori’s twinned biographies of artistic passion and pain, until the film becomes far richer than a simple crime story.
  2. The Incredible Jessica James
    Funny, feel good, and touching, The Incredible Jessica James will leave you with a smile on your face.
  3. Lean on Pete
    When I think about Haigh’s work, the word tenderness comes to mind. Both Weekend and 45 Years examined the rise and fall of relationships with profound sensitivity. While Lean On Pete isn’t quite as indelible as those two films, it’s another impressive piece of understated storytelling.
  4. Palm Springs
    The film offers at least one tangible piece of advice for dealing with this impossible, seemingly endless time: Keep your sense of humor about you. Palm Springs, which is billed as a “Lonely Island Production,” is consistently funny, from Samberg’s IDGAF attitude, to Milioti’s initial fury at her entrapment, to a deep roster of comic talents who bring hilarious variations to the numerous riffs through the same day.
  5. Send Help
    Still, the big finale redeems the middle section’s rocky patches with a very satisfying, very Raimi-esque conclusion.
  6. The Irishman
    The Irishman doesn’t always go by that quickly. But those moments contemplating the end of everything are among the most moving of Scorsese’s career.
  7. Tully
    There’s a twist that brings deeper insight and originality to the story, but it’s one Cody and Reitman don’t land as gracefully or sharply as they could have. It ultimately leads to a too-tidy conclusion that left me unsatisfied and a bit bummed out. That said, the first three quarters of Tully are pure magic, a darkly comedic and earnest ode to the woes of motherhood.
  8. Apollo 10½: A Space Age Childhood
    Despite the lack of conflict, Apollo 10 1/2 is a charming and engrossing 95 minutes, mostly because of the way Linklater blends his memories and dreams of that period, and filters both of them through the medium of Rotoscoped animation, which produces images that are somehow both surreal and hyper-real all at once.
  9. Scary Stories to Tell in the Dark
    Scary Stories to Tell in the Dark is drenched with symbolism and layered with ideas about lost innocence and the power of stories — and the power of creating something that resonates with an audience for years and years. I suspect this movie will do exactly that.
    • 75 Metascore
    • 80 Critic Score
    Captain America: Civil War
    While slightly overlong, this movie is bright, creative, insightful, affecting and, above all else, fun.
  11. I, Tonya
    It’s a blisteringly funny and sympathetic portrait of the Olympian led by an outstanding, confident performance from Margot Robbie.
  12. Spider-Man: Into the Spider-Verse
    Into the Spider-Verse really is the ultimate Spider-Man film in a lot of ways, the one that crystallizes the character’s moral philosophy, his life lessons, his arachnid athleticism, and his quirky sense of humor into one hugely appealing package. It’s pure dorky fun.
  13. Dune: Part Two
    Zendaya gives an incredibly rich performance as Chani . . . Her mostly silent performance in the movie’s final scenes is really remarkable — all the more so because it grounds this epic story in the emotions of this one person. Watching Paul through her eyes shifts Dune from a hero’s journey to a cautionary tale.
  14. Spider-Man: Far from Home
    Spider-Man: Far From Home is best viewed as the dessert at the end of an elaborate and overindulgent tasting menu. You’ve already eaten twenty-two courses, you’re totally stuffed and in no mood for more food, and then they bring out the cookie sampler with eight different kinds of homemade sweets and of course you eat it and you’re even more full than before but it was worth it because the cookie sampler is amazing.
  15. The Holdovers
    The frame is filled with observed but uncommented-upon details . . . The film seems to exist in a real world populated by fully dimensional people.
  16. Star Wars: Episode VIII - The Last Jedi
    The Last Jedi checks off all the boxes you want from a Star Wars movie, including one of the coolest lightsaber fights in the series’ 40 years, but Johnson is also interested in exploring new territory, including a consideration of the shadings and nuances to the Light and Dark Sides of the Force.
  17. Ad Astra
    While Gray may have told basically this same story before, Ad Astra’s cosmic setting makes it even more poignant, because it puts into such sharp relief how small each of us is against the vastness of space, and how our time in that space is the most finite blip possible when compared with the totality of cosmic history.
  18. Widows
    Though Widows isn’t as exceptional as McQueen’s previous work, his style elevates it well beyond any generic big studio genre film. It’s a first-rate popcorn thriller that dazzles you and gives you something thoughtful and timely to chew on.
  19. Confess, Fletch
    It didn’t knock me out with ingenious plot twists, bold cinematography, or groundbreaking editing. But it made me smile for 98 minutes. That doesn’t happen too often lately.
  20. Hail, Caesar!
    Beneath the (sometimes hysterically funny) gags, is a surprisingly thoughtful examination of the same issues that bubble through Joel and Ethan Coen’s more serious pictures; the folly of man, the nature of faith, and the terror of trying to figure out what path through life is the correct one to take.
  21. The Nice Guys
    Black’s general atmosphere of resigned melancholy fits perfectly with The Nice Guys and its portrait of sleazy 1970s Los Angeles, the ideal setting for a filmmaker interested in faded dreams and broken dreamers.
  22. Gemini
    In this current era of spoiler-driven pop culture, films like Gemini, which place a higher premium on storytelling, performances, and character-building than on the “big twist” at the end, feel like an act of beautiful rebellion.
  23. The Trip to Spain
    The film deepens the melancholic, existential notes from end of The Trip to Italy, and continues to evolve with its characters emotionally.
  24. Spider-Man: Across the Spider-Verse
    It’s also much more about what it means to create something that rejects the notion that Peter Parker needs to be the central focus of every Spider-Man story, even in the face of intense opposition. It’s also about notion that every sequel needs to spoon-feed the audience more of the same stuff they liked the first time around.
  25. Avatar: Fire and Ash
    Every time one of these Avatar movies comes out, everyone jokes about how they’re gussied-up cartoons and people online joke about how no one cares about them. Then the film actually arrives in theaters and it’s epic and exciting and gorgeous and heartbreaking. Would I be interested in a James Cameron motion picture not set on Pandora? Absolutely. But after Fire and Ash, which really might be my favorite of the Avatar films to date, I’m also okay if he just stays on Pandora forever.
  26. Good Boys
    What a pleasant surprise that the movie is far funnier and more perceptive about this brutal, hilarious time in a child’s life than I anticipated.
  27. Guardians of the Galaxy Vol. 3
    I don’t think Guardians of the Galaxy Vol. 3 quite matches the sublime pop silliness of the first film in this trilogy, but it’s easily better than Vol. 2, which had wonderful bits along with an overstuffed storyline. Vol. 3 isn’t exactly streamlined — it still runs about two and a half hours — but it is more focused on its themes and ideas, and on giving the Guardians the sendoff they deserve.
  28. Small Crimes
    Director Evan Katz’s follow-up to 2013’s Cheap Thrills is a lean, mean neo-noir that addresses an age-old question: Do people ever really change?
  29. Arrival
    Arrival is a smart film, but it’s not a cold or clinical one. Both the first and last scene brought me to the verge of tears.
  30. The Post
    All I can tell you is The Post is the first movie that ever made me cry about an abstract concept. And when it was over, I found myself particularly happy to see Meryl Streep’s name first in the closing credits.
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