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For 2,130 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 One Battle After Another
Lowest review score: 0 15 Minutes
Score distribution:
  1. Positive: 1,157 out of 2130
  2. Mixed: 747 out of 2130
  3. Negative: 226 out of 2130
2130 movie reviews
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  1. Paint
    To the film’s credit, nothing in Paint comes off as mean-spirited or patronizing, including the treatment of the town’s many less-than-sophisticated consumers of televised artmaking. But by the last half, the ambient niceness felt so pervasive and the film’s ultimate purpose so vague that, even when the performances and much of the dialogue remained sharp and funny, the movie around them seemed to dissolve into one of those happy little clouds.
  2. Red Planet
    Dull-witted.
  3. Transformers: Dark of the Moon
    Marveling at its grotesque gigantism doesn't make this two-and-a-half-hour-long movie any less dull.
  4. 300
    300 will be talked about as a technical achievement, the next blip on the increasingly blurry line between movies and video games.
  5. Knight and Day
    The character of Roy Miller is so quintessentially Cruise-ian that he skirts the edges of self-conscious parody.
  6. The Bone Collector
    A piece of exploitive schlock.
  7. I Love You, Daddy
    I watched it not as a critic preparing to summarize its merits or flaws to an audience of readers curious whether it was worth their time to see it, but as a sickened and disappointed fan, saying an unsentimental but still sad goodbye to one of her cultural crushes. Under those circumstances, I Love You, Daddy seemed less like a movie than like a series of symptoms presented, with shocking directness, for the viewer’s clinical consideration.
  8. 30 Minutes or Less
    30 Minutes or Less is a second movie that feels more like a first: slipshod, derivative, and unsure what tone to take toward its own sometimes distasteful subject matter.
  9. The Words
    Unfolds like the slow-motion dismantling of the world's most boring matryoshka.
  10. Robin Williams: Come Inside My Mind
    instead of focusing on the comedian’s complexities, Come Into My Mind focuses on his heartbreak. Perhaps Zenovich wanted to offer closure to fans still shocked by Williams’ final choice. But any artist is far more than their struggles. A proper remembrance would have understood that.
  11. Charlie's Angels
    Where Charlie’s Angels really falters, though, is in the jokes, as Banks is the only actress on screen with any real comic chops. One can’t help wondering what might’ve been if she’d concerned herself more with being her weird self and less with trying to make every woman in the audience feel validated.
  12. Frozen II
    Frozen 2 doesn’t have its forebear’s ungainliness; in many ways, it’s more efficiently engineered. But it’s also far less surprising, even taking into account that a sequel’s first task is to give people what they expect.
  13. Quantum of Solace
    Quantum of Solace, the first bona fide sequel in the Bond series, has the poky pace and expository padding of the middle chapter of a trilogy.
  14. The Matrix Revolutions
    Revolutions isn't as stupefying as "Reloaded"--and, of course, our expectations have been drastically lowered. But it's an abysmal anticlimax all the same.
  15. The Other Woman
    Natalie Portman may have the black swan and the white swan down, but she's still working on the gray.
  16. 44 Inch Chest
    Ultimately, though, even the company of these brilliant actors can't compensate for the limp, shapeless plot. With nowhere to go dramatically, the last third dissolves into a haze of flashbacks and fantasy sequences.
  17. Taking Lives
    Caruso is a much more resourceful director than this material deserves, but I resented being two steps ahead of the genius profiler and the genius serial-killer.
  18. The Caveman's Valentine
    You couldn't ask for a better pair of wild eyes than Jackson's.
  19. Swordfish
    By the third big climax the audience started to get impatient with the movie's pointless zigs and zags.
  20. Rebecca
    Glossy, handsomely mounted, with ample footage of mist-swathed Cornish cliffs, this adaptation is all still waters and no depth.
  21. Memoirs of a Geisha
    It skips lightly over the surface of its rich material, more preoccupied with making pretty pictures than dipping below the surface so that you can experience the world through the eyes of its traumatized, yet increasingly savvy, heroine.
  22. Bad Teacher
    From time to time, Bad Teacher gestures vaguely at the movie it could have been. Diaz slouches and snarls effectively through the early scenes. It isn't till we realize her redemption will be unsatisfying that the character starts to curdle.
  23. Windtalkers
    Woo could end up becoming the John Ford of schmaltz.
  24. The Drama
    As for The Drama, it runs out of big ideas—and, seemingly, compassion for its characters—before the audience has had a chance to develop our own rooting interest in, well, the drama.
  25. The Wolf of Wall Street
    Epic in size but claustrophobically narrow in scope, The Wolf of Wall Street maintains a near-exclusive focus on the greed and self-indulgence of its proudly rapacious hero.
  26. Lady in the Water
    I will hold against him (Shyamalan) that Lady in the Water isn't scary, that its own inner logic breaks down at countless points along the way, and that its ending is disappointingly literal and just plain stupid. Lady in the Water is, however, funny at times, even intentionally so.
  27. Avengers: Infinity War
    Sitting through its 2 hours and 30 minutes is like gorging on tapas: You wind up both overstuffed and unsatisfied.
  28. The King
    This Hal can only mumble resentfully in one language. It’s the language of “serious” male cinema in the year 2019, where seething resentment gives forth to bursts of violence. In deciding to speak this language instead of Shakespeare’s, Michôd has taken two of the Bard’s immortal geniuses, the drunkard Falstaff and his protégé, the Prince, and shrunk them down to the size of everyday people.
  29. Along Came Polly
    The movie is a peculiar and unsatisfying hybrid--but above all it's a pedestal to its popular leading man, Ben Stiller.
  30. No Strings Attached
    No Strings wants to be raunchy enough to pull in the dude crowd and snuggly enough to draw couples on dates. Instead, it's an inoffensive bore with occasional R-rated sex scenes that strain for cutesy shock value.
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