The Film Stage's Scores

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For 3,439 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 4.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Amazing Grace
Lowest review score: 0 The Hustle
Score distribution:
  1. Positive: 2,433 out of 3439
  2. Mixed: 889 out of 3439
  3. Negative: 117 out of 3439
3439 movie reviews
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  1. The Perfect Match
    Neatly wrapping it all up in a bow, right down to big reveals and reconciliations, The Perfect Match offers not nearly enough twists on a tired formula.
  2. The Adderall Diaries
    An ironic work of filmmaking, The Adderall Diaries explores the relationship between truth, narration and influence, yet resorts to cheap devices rather than observant truth.
  3. Monster Hunt
    There’s a charm to this that makes Monster Hunt worth seeing if only for curiosity’s sake.
  4. Marguerite
    Giannoli’s ease with sugary, poisonous dialogue and the cumulating orbit of characters can’t quite mask the crowded plotting.
  5. The Brothers Grimsby
    As far as straightforward crude comedies go, The Brothers Grimsby succeeds at times, even if the confines of narrative cinema restrict just how wild Sacha Baron Cohen can be.
  6. 10 Cloverfield Lane
    10 Cloverfield Lane is a fun one-location, three-person play, and each new twist it takes only makes it more exciting.
  7. Emelie
    Its best moments come from Bolger and Rush’s dynamic. What begins with inappropriate thoughts moves to a battle of wills and smarts.
  8. Hyena Road
    Lovers of war cinema might forgive the film’s flaws and be thrilled by Hussian’s visuals, but its characters are too paper-thin to compel our emotional engagement beyond casual interest.
  9. City of Gold
    City of Gold is simultaneously a vibrant, colorful love letter to the unsung parts of Los Angeles, a populist philosophy of food and culture, and a thesis on what criticism should be.
  10. Eye in the Sky
    The film insists upon its own relevance, but has none.
  11. Me Him Her
    He’s taking themes he’s seen countless times over and playing with them to earn laughs that hit as much upon the joke as they do the clichéd situations in which they occur. Landis embraces those contrivances and uses them to his advantage.
  12. Creative Control
    Well-acted, quietly funny, and with enough meat to keep a thinker satisfied, Creative Control pushes against just being beautiful to look at and manages something more.
  13. Ava's Possessions
    A fresh spin on a classic theme.
  14. The Wave
    Its strict adherence to the disaster formula renders the experience far too generic and risk-averse to make it memorable, and the predictability will surely leave pulses at rest as opposed to pounding.
  15. Right Now, Wrong Then
    In building a mystery, comedy, romance, occasional melodrama, and even a study of the artist’s foolishness that defies expectations well after we’re familiar with its brilliant conceit, Hong has yet again proven the vitality of his voice. At this point, it seems unlikely he’ll ever make a bad film.
  16. Holy Hell
    Despite its worthy plot and the wealth of great footage with which it had to work, Holy Hell is a mess.
  17. The Boy and the Beast
    The style isn’t necessarily inferior to Studio Ghibli—it’s just different.... But once the shift in plot occurs to add drama, the visuals change as well.
  18. Whiskey Tango Foxtrot
    Whiskey Tango Foxtrot is a galling, casually offensive, and deeply unsatisfying film.
  19. London Has Fallen
    The special effects are worse than I thought modern studio filmmaking allowed for. Actors such as Robert Forster and Melissa Leo reprise their roles from the first film with maybe half-a-dozen lines apiece. Were it not for the presence of said actors, this could easily pass for a DTV spin-off.
  20. Crouching Tiger, Hidden Dragon: Sword of Destiny
    Like so many too-late sequels, the film — directed by the first film’s action choreographer Yuen Woo-ping — rides on waves of nostalgia and little else.
    • 78 Metascore
    • 75 Critic Score
    Zootopia
    Zootopia proves a successful amalgamation of disparate influences, much like its eponymous city.
    • 87 Metascore
    • 83 Critic Score
    My Golden Days
    A coming-of-age film with a broader perspecttive is always welcome, and it paradoxically makes this as evocative and convincing a portrait of youth as the best work of François Truffaut.
  23. Knight of Cups
    The lack of characterization is Cups‘ biggest flaw.... The constant Malick-ian voice-overs – fragmented, hushed, magniloquent – largely replacing dialogue don’t offer much by way of compensation.
  24. Cemetery of Splendor
    [Joe's] latest film is as enveloping as anything he’s ever made: a work that’s as darkly comic on subjects as specific as hospital regulation as it is sober-minded about perils as universal as comfortable living, one open to the possibilities of spiritual awakening while confronting us with questions of belief.
  25. Kill Your Friends
    It is Nicholas Hoult, and Nicholas Hoult only, who keeps one watching. Even here he commands the screen, and shows himself able to carry a film. Next time, perhaps it will be a good one, and not one with such a needlessly tired message.
  26. Gods of Egypt
    While the film becomes a constant test to outdo itself, the raw ambition isn’t nearly enough to make up for the content of the actual film: an ungainly, ugly, nearly interminable monstrosity.
  27. Triple 9
    Triple 9 isn’t trying to be something of grand social value. It wants to be pulp, and maybe it’s unfair to criticize it for issues of racism and sexism, but its clockwork, convoluted plot isn’t clever, and it’s certainly not very memorable.
    • 54 Metascore
    • 67 Critic Score
    Too Late
    Undeniably ambitious, Hauck’s debut is a fascinating study of genre homage and cinematic technique that wears its heart on its sleeve, even if it’s not always aware of that fact.
    • tbd Metascore
    • 42 Critic Score
    They Look Like People
    Relying on a flat center performance and horror cliches, the film is unable to think outside of its confines, playing its cards too clumsily to ever hint there’s something deeper going on than what’s on the screen.
  30. Mad Max: Fury Road
    It’s not often delays, financial dissolutions, and waning interest make a film better, but I don’t want to know what Mad Max: Fury Road might have been without them. In its current form the film embodies a logical escalation of what director George Miller began over three decades ago by embracing the insanity eating away at his titular road warrior’s resolve.
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