For 10,425 reviews, this publication has graded:
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51% higher than the average critic
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3% same as the average critic
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46% lower than the average critic
On average, this publication grades 2.6 points lower than other critics.
(0-100 point scale)
Average Movie review score: 62
| Highest review score: | Badlands | |
|---|---|---|
| Lowest review score: | A Life Less Ordinary |
Score distribution:
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Positive: 5,575 out of 10425
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Mixed: 3,741 out of 10425
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Negative: 1,109 out of 10425
10425
movie
reviews
- By Date
- By Critic Score
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- The A.V. Club
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Reviewed by
Nathan Rabin
Has enough atmosphere for three films, enough colorful grotesques for several more, and not enough of a script for one.- The A.V. Club
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Reviewed by
Noel Murray
The scenes of death, starvation, and destruction are affecting, but they don't say much about the actual subject of the film.- The A.V. Club
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Reviewed by
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Reviewed by
Nathan Rabin
So audaciously bad it's good, which is about as close to quality as Seagal is likely to get these days.- The A.V. Club
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Reviewed by
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Reviewed by
Tasha Robinson
Well-crafted but frustratingly superficial documentary.- The A.V. Club
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Reviewed by
Scott Tobias
Though harmless and reasonably good-natured, Where's The Party Yaar? ("yaar" translates as "dude") doesn't add many novel touches to its predictable formula, except for a couple of limp nods to Bollywood song-and-dance numbers.- The A.V. Club
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Reviewed by
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Reviewed by
Keith Phipps
However much the film may mirror the truth, dramatically it feels like a cheat. It omits the human spark that would make it work as a film, rather than a collection of dramatized issues.- The A.V. Club
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Reviewed by
Scott Tobias
The fact that the story makes sense at all remains Coppola and his butchers' sole achievement.- The A.V. Club
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Reviewed by
Nathan Rabin
A supremely unhurried filmmaker, Duvall lets the story meander sleepily en route to a conclusion as ho-hum as everything preceding it.- The A.V. Club
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Reviewed by
Scott Tobias
Though woefully oblique and underdeveloped, writer-director Tim McCann's Revolution #9 attempts the difficult task of burrowing into the fractured mind of a modern man who loses his grip on reality.- The A.V. Club
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Reviewed by
Scott Tobias
Wang loses himself in an old-fashioned script that tries to recall the classic screwball ensembles of Golden Age Hollywood, but lacks the cascading wit to pull it off.- The A.V. Club
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Reviewed by
Nathan Rabin
A skillfully acted and psychologically well-crafted but ultimately disappointing thriller.- The A.V. Club
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Reviewed by
Noel Murray
The trouble is that while Chaiken's community is nuanced, it's not exactly a warm, inviting place to spend time. It's dingy and dismal, and though not exactly humorless, Margarita Happy Hour misses many chances to be funny, at times when a laugh or two would open the picture up.- The A.V. Club
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Reviewed by
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Reviewed by
Nathan Rabin
Offers plenty of eye candy, if little else. Ultimately, the film is clearly superior to its predecessor, but that's mostly because the first Tomb Raider left so much room for improvement.- The A.V. Club
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Reviewed by
Keith Phipps
Fortunately, no one seems to have clued Bardem in on the game plan, and the fierceness and complexity he brings to his role nearly saves Mondays In The Sun.- The A.V. Club
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Reviewed by
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Reviewed by
Nathan Rabin
A voyeuristic look at voyeurs, Cinemania never seems sure whether it's a comedy or a tragedy. Instead, the film just seems intent on depicting its subjects as lovable kooks, a reductive portrayal that does little to acknowledge the desperation and loneliness that permeates every frame.- The A.V. Club
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Reviewed by
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Reviewed by
Keith Phipps
Andrew Davis ("The Fugitive," "Steal Big Steal Little") has made a technically competent thriller that's not only thrill-less, but dull.- The A.V. Club
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Reviewed by
Keith Phipps
Though haphazardly put together, The Medallion stays fairly entertaining until it kills Chan off and resurrects him as an immortal being.- The A.V. Club
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Reviewed by
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Reviewed by
Keith Phipps
It works for a little while, but an Irons-narrated slideshow of the region would have worked just as well.- The A.V. Club
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Reviewed by
Scott Tobias
In a way, Collateral Damage is redeemed by its implausibility, because the closer it comes to reality, the more disturbing it gets. For once, viewers have reason to be grateful for having their intelligence insulted.- The A.V. Club
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Reviewed by
Scott Tobias
Lawrence is fortunate to have appealing pros like Grant and Bullock around to bail him out with romantic chemistry and enough crisply delivered one-liners to survive the barren stretches of script.- The A.V. Club
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Reviewed by
Nathan Rabin
In Jet Lag, Jean Reno is pressed into leading-man duty, with depressingly mediocre results.- The A.V. Club
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Reviewed by
Scott Tobias
At once too real for escapism and too ridiculous for a credible espionage thriller, The Sum Of All Fears unfolds like a cruel joke and treats imagined human tragedy as the punchline.- The A.V. Club
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Reviewed by
Noel Murray
A clean, tasteful drama (sex scenes aside) that's designed to attract Anglophiles who can't resist green lawns, falling leaves, precise diction, and a clean sound mix.- The A.V. Club
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Reviewed by
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Reviewed by
Scott Tobias
In spite of Frieda Hughes' objections, a few snippets of Plath's poetry slip into Sylvia, but they don't do the movie any favors--they just add more weight to a story that already buckles at the knees.- The A.V. Club
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Reviewed by
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- Critic Score
All accusatory fingers should be pointed at director Robert Altman, who further drains his reputation surplus with this unoriginal and uninteresting piece of exploitation.- The A.V. Club
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Reviewed by
Keith Phipps
The characters are funny and the cast's characterizations right on, but the movie repeatedly lets them down.- The A.V. Club
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Reviewed by
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Reviewed by
Keith Phipps
Director Blair Treu hails from Brigham Young University, and while there's nothing explicitly religious about Little Secrets, his primary influence seems to be those LDS public-service announcements in which nice people learn to become even nicer.- The A.V. Club
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Reviewed by
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Reviewed by
Nathan Rabin
Has an agreeable air of anything-goes vulgarity, which is so transcendentally idiotic that it's impossible to tell whether the film is a brilliant, deadpan parody of raunchy lowbrow farces from the '70s and '80s, or one of the stupidest, most regressive films ever made. Or, more likely, it's a little of both.- The A.V. Club
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Reviewed by
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- The A.V. Club
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