The Atlantic's Scores

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For 593 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 4.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Clouds of Sils Maria
Lowest review score: 0 Melania
Score distribution:
  1. Positive: 420 out of 593
  2. Mixed: 117 out of 593
  3. Negative: 56 out of 593
593 movie reviews
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  1. The Disaster Artist
    Wiseau’s odd appeal is the only reason anything in The Disaster Artist is remotely believable, even though it’s based on a true story. James Franco is magnetic in the role, so committed to precisely replicating Wiseau’s unique presence, that you understand why so many people went along for the ride with him.
  2. Darkest Hour
    Wright has found an ideal collaborator in Oldman, an actor who knows how to embrace his most dramatic side but who still excels in his quieter moments.
  3. Mudbound
    Mudbound is beautifully shot, well-acted, and surprisingly sweeping for a movie with a relatively small budget of $10 million; if it’s guilty of anything, it’s perhaps trying to do too much at once, which is understandable given its novelistic scope.
  4. Call Me by Your Name
    Each element is carefully calibrated, but deployed with consummate grace—this is a film to rush to, and to then savor every minute of.
  5. Professor Marston & the Wonder Women
    The real star of Professor Marston and the Wonder Women is Rebecca Hall, who’s an absolute dynamo as Elizabeth Holloway Marston.
  6. The Meyerowitz Stories (New and Selected)
    For all Sandler’s screaming, and Hoffman’s imperious rambling, the film builds to some quietly tragic moments amid its chaotic comedy of family manners.
  7. BPM (Beats Per Minute)
    Beats Per Minute is specific in topic, to be sure—this is a moving account about the gay experience at a particular point and place in history—but it’s also fascinating to consider from a wider angle, as many people continue to grapple with how to carry out different kinds of political protests.
  8. Wonderstruck
    In its quieter moments, Wonderstruck occasionally approaches the transcendent, sublime quality Haynes is aiming for—but those times are frustratingly few and far between.
  9. The Square
    The Square is darkly amusing, but it’s also bracingly honest in its absurdity, and that’s what kept me coming back to each one of its wonderfully knotty scenarios even months after seeing it.
  10. The Killing of a Sacred Deer
    With his latest movie, Lanthimos has made a tense, heart-wrenching tale with an admirably askance view of humanity that’s a worthy successor to his prior works.
  11. Suburbicon
    Had Suburbicon committed to its primary crime-caper plot, it might have been just another forgettable, uninspired film. But its attempt to haphazardly take on a weightier tale makes Suburbicon a much rarer, and more mesmerizing, kind of catastrophe.
  12. Lady Bird
    Lady Bird isn’t a movie about any searing issue; it’s just a wonderful, rare character study of a young woman figuring out her identity, and all the pitfalls that follow.
  13. Last Flag Flying
    The film feels half-formed, sometimes trying to be raucously confrontational, other times excessively sedate.
  14. Roman J. Israel, Esq.
    One element is consistent throughout Roman J. Israel, Esq.—the enigmatic lead, played with typical dedication and forcefulness by Denzel Washington. But even though he’s fully committed to the role, this movie is anything but, aimlessly weaving between story ideas like a distracted driver.
  15. Justice League
    Justice League feels like a pilot episode—it’s half-formed, overstuffed, and narratively a chore—but at least its gotten all those annoying introductions out of the way. And it only took five movies to get there.
  16. Oldboy
    Oldboy is mostly absorbing because of the intense anguish radiating off the screen at all times; Park’s ability to effectively communicate obsession, and put the audience in the head of someone who has almost entirely lost touch with his sense of self, feels unparalleled to this day.
    • 46 Metascore
    • 50 Critic Score
    Remo Williams: The Adventure Begins
    You can get carried along by the exuberance and likability of Remo: The Adventure Begins , only to have the despair of the pop mythology underneath it catch up with you the morning after.
    • 41 Metascore
    • 75 Critic Score
    Dune
    While it's hardly a cohesive experience, individual scenes are brought to life with striking power.
  19. Barry Lyndon
    It’s a movie that actually makes the past look otherworldly, unlike many period pieces, which strive to make history seem easy to slip into.
    • 89 Metascore
    • 80 Critic Score
    Fat City
    It is the script that made the difference here and that allowed Huston to make a better film than he had made in many years.
    • 82 Metascore
    • 90 Critic Score
    The Endless Summer
    The genius of the movie is that it seeks to do no more than record an escape from the burdens of the real world.
  22. Out of the Past
    Out of the Past is more than just an exemplary noir. It exceeds its genre even as it typifies it.
  23. The Thin Man
    Director W.S. Van Dyke and married co-writers Albert Hackett and Frances Goodrich leavened the novel's hard-boiled tone and grim wit. The result is less a detective story with occasional flashes of humor than a light comedy set against a backdrop of murder.
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