For 7,789 reviews, this publication has graded:
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33% higher than the average critic
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3% same as the average critic
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64% lower than the average critic
On average, this publication grades 6.2 points lower than other critics.
(0-100 point scale)
Average Movie review score: 59
| Highest review score: | Mulholland Dr. | |
|---|---|---|
| Lowest review score: | Jojo Rabbit |
Score distribution:
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Positive: 4,359 out of 7789
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Mixed: 1,496 out of 7789
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Negative: 1,934 out of 7789
7789
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Steven Scaife
The film bottles a palpable emotion of unabashed joy, even when the rest of it seems to barely hold together.- Slant Magazine
- Posted Aug 14, 2019
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Reviewed by
Chuck Bowen
Gavin Hood wrings suspense out of the parsing of the nuances of evidence and the tapping of mysterious contacts.- Slant Magazine
- Posted Aug 19, 2019
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Reviewed by
Derek Smith
The film captures a man haunted by his past mistakes and nearly certain that he doesn’t have the time left to begin making up for them.- Slant Magazine
- Posted Jul 18, 2019
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Reviewed by
Henry Stewart
It’s best appreciated not with the parts of your brain responsible for reason and judgment, but in the unthinking terror centers, where the film’s style of God-fearing fanaticism also resides.- Slant Magazine
- Posted Jan 31, 2020
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Chuck Bowen
A wonderful high concept is compromised for another story of lonely people learning to connect.- Slant Magazine
- Posted Sep 10, 2019
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Reviewed by
Jake Cole
The action consistently snaps the film into focus, but it also further illustrates how badly the decision to split this narrative into two parts throws off the delicate rhythm that’s made Mission: Impossible arguably the most consistently entertaining American action franchise of all time.- Slant Magazine
- Posted Jul 5, 2023
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Reviewed by
Pat Brown
The second half’s series of hollow visual spectacles foreground the film as a corporate product.- Slant Magazine
- Posted Sep 23, 2019
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Reviewed by
Pat Brown
Claudio Giovannesi’s film is more an interesting tweak of Goodfellas than an eye-opening social statement.- Slant Magazine
- Posted Jul 29, 2019
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Reviewed by
Christopher Gray
The portrait it paints of its Marines is appropriately discordant, redolent of the twitchy frustration caused by a long stint in a sparse landscape with a hazy mission.- Slant Magazine
- Posted Mar 11, 2019
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Reviewed by
Jake Cole
For a spell, Melina Matsoukas’s film exudes the concision of an old B movie.- Slant Magazine
- Posted Nov 22, 2019
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Derek Smith
The film’s improvisational feel helps to ground a fable-esque narrative in a discernible reality.- Slant Magazine
- Posted Aug 5, 2019
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Pat Brown
It has almost enough genuine charm and heart to compensate for the moments that feel forced.- Slant Magazine
- Posted Feb 23, 2020
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Reviewed by
Chuck Bowen
Marc Maron’s commanding aura of regret gives the film, despite its missed opportunities, an emotional center.- Slant Magazine
- Posted Jul 8, 2019
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Reviewed by
Derek Smith
A taut genre exercise that delivers enough surprises and cleverly timed bits of humor for its sometimes familiar, uneven narrative beats to play an original tune.- Slant Magazine
- Posted Aug 13, 2020
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Reviewed by
Chris Barsanti
Alex Gibney’s documentary tells a dramatic, if somewhat workmanlike, story of Silicon Valley hubris meeting old-fashioned scamming.- Slant Magazine
- Posted Mar 15, 2019
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Reviewed by
Chuck Bowen
It would appear that some of Buddy’s humans have indeed written off their fellow people. Does this matter? Honigmann’s film doesn’t plumb this potentially resonant question, as it’s hesitant to look a gift dog in the mou- Slant Magazine
- Posted Mar 19, 2019
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Reviewed by
Chuck Bowen
The film’s refusal to commit to its passing fancies is a highly intentional and eventually tiresome declaration of Qui Sheng’s arthouse bona fides.- Slant Magazine
- Posted Apr 2, 2019
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Reviewed by
Chuck Bowen
While the film offers an appealingly nostalgic trance-out, it’s often short on detail, especially in terms of Stephen Herchen’s struggle to create the instant film technology, which director Willem Baptist reduces to exchanges of jargon in atmospheric laboratories.- Slant Magazine
- Posted Apr 17, 2019
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Pat Brown
Its major contribution, as one museum curator suggests, may be to bring the works of Moshe Rynecki back into prominence.- Slant Magazine
- Posted Apr 21, 2019
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Reviewed by
Jake Cole
The film is a reminder of the potential of these films before they became weighed down by blockbuster-ready excesses.- Slant Magazine
- Posted Apr 7, 2019
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Pat Brown
Despite glimpses of a larger critique of the American project in Afghanistan, it lets us escape from the horrors of war before it finishes demolishing the illusion of a clean one.- Slant Magazine
- Posted Oct 20, 2019
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Reviewed by
Pat Brown
After a while, the film’s not-strictly-linear structure and handheld camerawork come to feel like self-conscious signs of “gritty” realism, attempts at masking a certain conventionality.- Slant Magazine
- Posted Jul 22, 2019
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Reviewed by
Chuck Bowen
The anthology justifies Mick Garris’s passion for horror, though he ironically proves to be one of his project’s liabilities.- Slant Magazine
- Posted Jun 18, 2019
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Reviewed by
Mark Jenkins
Where When We Leave built to simple outage, this one concludes with a rush of complex, conflicting emotions.- Slant Magazine
- Posted Jun 21, 2020
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Reviewed by
Pat Brown
Sienna Miller lends credibility to a character that in other hands might seem like a caricature of the white underclass.- Slant Magazine
- Posted Jun 11, 2019
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Reviewed by
Keith Watson
Only in its giddily gory finale does the outrageousness of the film's violence come close to matching that of its plot.- Slant Magazine
- Posted Aug 20, 2019
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Sam C. Mac
Pedro Almodóvar’s latest only occasionally captures the spry, comedic rhythms and impassioned intensity of his finest work.- Slant Magazine
- Posted May 18, 2019
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Reviewed by
Diego Semerene
Only Marisa Tomei’s face can compete with Isabelle Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.- Slant Magazine
- Posted Oct 23, 2019
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Reviewed by
Christopher Gray
What's most stirring about Céline Sciamma's film is the lack of artifice in Héloïse and Marianne's feelings for one another.- Slant Magazine
- Posted Sep 5, 2019
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Reviewed by
Jake Cole
It’s at its best when showing how gangsters undermine their lofty notions of nobility with displays of narcissism.- Slant Magazine
- Posted Sep 5, 2019
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Reviewed by