For 20,304 reviews, this publication has graded:
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46% higher than the average critic
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5% same as the average critic
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49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics.
(0-100 point scale)
Average Movie review score: 61
| Highest review score: | Short Cuts | |
|---|---|---|
| Lowest review score: | Gummo |
Score distribution:
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Positive: 9,394 out of 20304
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Mixed: 8,445 out of 20304
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Negative: 2,465 out of 20304
20304
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Manohla Dargis
While there’s much to admire in how Mr. Tucci and Ms. Eve perform Mr. LaBute’s artful, apocalyptic duet, this is one seriously out-of-date tune.- The New York Times
- Posted Dec 12, 2013
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Reviewed by
Manohla Dargis
There are, once again, too many busy, uninterestingly staged battles that lean heavily on obvious, sometimes distracting digital sorcery. But there are also pacific, brooding interludes in which the actors — notably Mr. Freeman, an intensely appealing screen presence — remind you that there’s more to Middle-earth than clamor and struggle.- The New York Times
- Posted Dec 12, 2013
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Reviewed by
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Reviewed by
Manohla Dargis
Mr. Bale, like some other stars who embrace playing ugly, feels as if he’d been liberated by all the pounds he’s packed on and by his character’s molting looks, an emancipation that’s most evident in his delicately intimate, moving moments with Ms. Adams and Ms. Lawrence.- The New York Times
- Posted Dec 12, 2013
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Reviewed by
A.O. Scott
The best parts of Saving Mr. Banks offer an embellished, tidied-up but nonetheless reasonably authentic glimpse of the Disney entertainment machine at work.- The New York Times
- Posted Dec 12, 2013
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Reviewed by
Stephen Holden
This modest film observes evacuees from Futaba, a small town near the Fukushima Daiichi nuclear power plant, making do in their temporary shelter. Partly because this version of the movie was drastically edited to 96 minutes from 145, it feels sketchy and disjointed.- The New York Times
- Posted Dec 10, 2013
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Reviewed by
Jeannette Catsoulis
Trying to gather too much into his net, Mr. Stewart gets a little lost, but his bottom line could not be clearer: When the oceans die, so do we.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Miriam Bale
Mr. Verrette shows talent in conveying complex emotions, yet he’s handicapped by his grand ambition and an inability to do simple scenes well.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Jeannette Catsoulis
For all the shooting, knifing and nattering about sleeper cells, the film feels weirdly static and terminally tired.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Stephen Holden
After barely stirring to life, Night Train to Lisbon mercifully expires.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Jeannette Catsoulis
Mr. Clark finds unexpected heart amid cliché and frigidity.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Miriam Bale
A wondrous and slightly deranged story about oddballs embracing their differences.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Nicolas Rapold
Like the 1994 documentary landmark “Hoop Dreams,” Lenny Cooke measures out the years with a pensive jazz motif, but the film feels comparatively stuck on a couple of notes.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Nicolas Rapold
More reminiscent of public television than of cinema, this rather humbly wrought movie makes no claim to being comprehensive in recalling a scary time.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Neil Genzlinger
One of those who’s-the-murderer parlor games is a plot pillar of Merry Christmas, an experiment in filmmaking by Anna Condo that itself feels like a parlor game, and not a particularly entertaining one.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Neil Genzlinger
A slight movie that could have been significantly better with a little story doctoring.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Manohla Dargis
The fatalities and clichés escalate, as the wife plays the femme fatale, and the men run circles around one another amid the dust, blood and some tonally off, ill-conceived cutesiness.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Stephen Holden
The movie’s observations of the wolf pack mentality of privileged teenage boys who view every conquest as proof of their prowess is casually devastating.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Stephen Holden
The Last Days on Mars ultimately can’t transcend its pulpy roots.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
A.O. Scott
Whatever thoughtful instincts Mr. Castellitto might possess are undermined by his addiction to cinematic prettiness.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
A.O. Scott
This is not a biopic, it’s a Coen brothers movie, which is to say a brilliant magpie’s nest of surrealism, period detail and pop-culture scholarship. To put it another way, it’s a folk tale.- The New York Times
- Posted Dec 5, 2013
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Reviewed by
Nicolas Rapold
Desultory, dauntingly DIY but secretly efficient, Breakfast With Curtis is something like a leafy summer afternoon in movie form.- The New York Times
- Posted Dec 3, 2013
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Reviewed by
Manohla Dargis
It’s a heavy, solemn tale of blood ties that turns into a melodramatic gusher filled with abstractions about masculinity, America and violence, but brought to specific, exciting life by Christian Bale, Casey Affleck and Woody Harrelson.- The New York Times
- Posted Dec 3, 2013
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Reviewed by
Rachel Saltz
If Bullett Raja had more spark, it might be fun to contemplate its barely hidden crisis-of-masculinity subtexts.- The New York Times
- Posted Dec 3, 2013
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Reviewed by
Neil Genzlinger
It’s as thinly written and unoriginal as made-for-television seasonal filler, and why it isn’t on the Hallmark Channel or Lifetime is a mystery, but fans of the singers in it might get a kick out of seeing them.- The New York Times
- Posted Nov 29, 2013
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Reviewed by
Neil Genzlinger
The problems are clearly explained, though the film doesn’t have solutions any more than public officials do, since shoreline development is already a fact of life.- The New York Times
- Posted Nov 28, 2013
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Reviewed by
Neil Genzlinger
The purpose was no doubt more spiritual than the film conveys; if so, the execution doesn’t do the effort justice.- The New York Times
- Posted Nov 28, 2013
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Reviewed by
Nicolas Rapold
Ms. Hanna’s creativity and force are catching. But other voices are needed to evaluate her achievements with a fuller sense of cultural context and perspective.- The New York Times
- Posted Nov 28, 2013
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Reviewed by
Miriam Bale
[Mr. Mettler’s] images of galaxies, mandalas, particle accelerators and glowing red lava become his real subjects. He uses music and sound to control the pace, to slow time, as if cinema were a form of enforced meditation.- The New York Times
- Posted Nov 28, 2013
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Reviewed by
Stephen Holden
Mr. Elba’s towering performance lends “Long Walk to Freedom” a Shakespearean breadth.- The New York Times
- Posted Nov 28, 2013
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Reviewed by
Nicolas Rapold
A messy collision of strained portrayals, semi-comic incidents and tear-jerking tactics.- The New York Times
- Posted Nov 26, 2013
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Reviewed by