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For 4,828 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 1.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Days of Being Wild (re-release)
Lowest review score: 0 Oh, Ramona!
Score distribution:
  1. Positive: 3,012 out of 4828
  2. Mixed: 1,308 out of 4828
  3. Negative: 508 out of 4828
4828 movie reviews
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  1. Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D)
    "Billie Eilish: Soft & Hard” is thrilling as a concert film, but its force comes from how carefully it maps the machinery behind the magic—the lighting choices, stage movements, emotional calibration, hidden pathways, and private moments of anticipation. It is vivid, immersive, and unusually personal, a portrait of a performer who understands the scale of her platform and still wants every person in the room to feel seen. For a film this massive, its most impressive trick is how close it comes to witnessing everyone.
  2. Blue Film
    By the end of Blue Film, it’s hard not to feel like it didn’t quite live up to its potential. As a novel, it would be engrossing. As a movie, it’s got good bones but a cowardly lack of boners.
  3. The Sheep Detectives
    There’s plenty to like, and this starter kit for detective fiction ought to serve as more of a net positive for kids than another soulless reboot of existing IP. But it’s a shame to settle for merely good when something great was very clearly a plausible outcome.
  4. The Devil Wears Prada 2
    We’re not sure there will ever be another “Devil Wears Prada” installment, but be glad this one came along. At worst, to reinforce that shining memory of the original, at best to simply delight you for two hours. Hey, it might even be an improvement on that first flick.
  5. Motor City
    The action scenes and kills are bloody, and the performances and muscles are big. After Amazon’s “Reacher,” consider “Motor City” another showcase for the above-the-title billed Alan Ritchson as a credible, cinematic leading man.
  6. Apex
    Theron can survive almost anything onscreen. Apex proves, once again, that she can carry weak material farther than most actors. It also proves that even she cannot quite drag a dull survival programmer up the mountain.
  7. Michael
    If you want to relieve some of the MJ magic, Jafar, Fuqua, and those timeless bangers will quench a nostalgic thirst that will make you want to forget all that “negative stuff.” For a few moments anyway.
  8. Everyone Is Lying to You for Money
    McKenzie may frame the journey with some bemused curiosity, but the movie lands somewhere much angrier than that. Fair enough. A system this shady doesn’t deserve awe. It barely deserves the dignity of confusion.
  9. Mother Mary
    The scattershot Mother Mary can never effectively find the connective tissue between different modes of storytelling. To put it in musical terms, this is less a mixtape and more of a playlist on a chaotic shuffle.
  10. Faces of Death
    For all its rage about moral decline and the psychic poison of content culture, Faces Of Death never rises above the same cheap sensationalism it pretends to condemn. Instead of confronting the sickness, it feeds on it and spits out something just as rancid as the faux snuff films it claims to abhor.
  11. Outcome
    Outcome—and it’s bad scenes shot behind obvious blue screen and fake, manufactured sunsets—is terrible. But what makes it memorable is the queasy way the movie keeps collapsing into the very pathology it thinks it is exposing. It wants to mock the famous for living inside a bubble of privilege, paranoia, and vanity, yet it ends up sounding like it was made from inside that bubble.
  12. Thrash
    The problems are many, the ease with which it goes down is high, and whether Thrash set out to craft a solid thriller or a purposeful schlockfest, it lands squarely in the middle, destined to be forgotten.
  13. The Drama
    The Drama remains a vital, bleak, and admirably mean-spirited look at the cost of being known and, more expensively, the price of trying to save face. It doesn’t fully cash in on the nastiness of its best idea, but it is funny, queasy, and wholly willing to make everyone miserable for your amusement. In an era of soft, therapeutic romantic storytelling, that alone gives it biting validation.
  14. The AI Doc: Or How I Became an Apocaloptimist
    It’s disturbing and engrossing. It doesn’t fully grapple with every moral, political, or philosophical consequence of the AI rush, and there are moments when it arguably lets some of its most powerful interview subjects off the hook too easily. But it still lands because it understands the essential terror at the center of this conversation: not simply that we are building intelligence at breakneck speed, but that wisdom—human, moral, civic—may be arriving nowhere near fast enough.
  15. Exit 8
    As the film nears its conclusion, “Exit 8” becomes as emotionally enriching to feel through as it is enigmatically engrossing to play through. These minimalistic trappings help construct a shared space in which the redundancy of the setup can give way to meaningful reflection.
  16. Fantasy Life
    The brisk pacing of Fantasy Life is a credit to this editorial restraint, yet it also leads to one of the production’s few stumbles: its refusal to offer a satisfying, narratively cohesive ending. Even so, the film stands well on its own.
  17. The Super Mario Galaxy Movie
    Super Mario Galaxy is nice to look at and dead inside, a committee-made franchise object masquerading as an adventure, and ultimately little more than an empty commercial for Super Mario branding.
  18. Pretty Lethal
    In the end, “Rhythm Is A Dancer” remains a classic banger, but Pretty Lethal never finds any remotely memorable rhythms of its own.
  19. Wishful Thinking
    Wishful Thinking is then one of those great films about love that treats it not just as an abstract concept, but as a living, breathing, and constantly evolving state of being, painting a full portrait of its couple who find themselves swept up in it. You fall in love with the film just as you do both of its characters, together and separately, even as they may, too, break your heart.
  20. Nova 78'
    Burroughs’ off-the-cuff backroom commentary registers almost more than anything else shown on stage in this curiously essential document of a time when things were changing more than anyone could comprehend.
  21. Hokum
    What could have easily been an overstuffed confluence of ideas – a haunted house, a ghost, a witch, a murder, oh my! – comes together so effectively because of McCarthy’s masterful command of what scares audiences.
  22. Louis Theroux: Inside the Manosphere
    While the documentary may not offer a startling new thesis, it still lands in its own subdued way. What lingers is not simply the ugliness of the rhetoric, but the banality of the scam.
  23. They Will Kill You
    Its lack of visual cohesion and bizarre finale get in the way of enjoying the whirlwind of fists, bullets, fantastical fights, and a sword with katana-like powers of cutting bodies in half. No one can accuse this film of becoming boring, but its over-stuffed narrative never quite delivers on its promising start.
  24. Over Your Dead Body
    It seems like Over Your Dead Body is caught between deconstructing itself and just going through the motions.
  25. Happy New Year, Colin Burstead.
    Some might dismiss the film as minor Wheatley — made in just a couple of weeks, on a budget likely smaller than even many of Wheatley’s inexpensive earlier pictures. But there’s a lot going on in it, from the genuinely profound portrait of how families can bring out the most toxic sides of their members when they’re together, to a light sprinkling of state-of-the-nation, post-Brexit commentary.
  26. Power Ballad
    Even with some perfectly fine comedic gags, Power Ballad can never overcome the emptiness of its characters and the equally flat, overlit visuals that make the entire thing look more like a bad TV episode than an actual film.
  27. I Love Boosters
    Buffeted by both an incredible cast and crew, I Love Boosters is an unexpected celebration of friendship, community, and solidarity.
  28. undertone
    For a film so fixated on provoking fear and dread through the medium of audio, it’s naturally strongest when it does not bother to stimulate the eyes at all.
  29. Marc by Sofia
    As Coppola teases Jacobs’ brilliance over the decades, you realize he may not have gotten his due as one of the most influential designers of the past 50 years. He may have been taken for granted both inside the insular fashion world and by the public at large. And, at worst, you just hope sometime soon, another filmmaker tackles an extended film or docu-series about him and really gives him his due.
  30. Project Hail Mary
    Project Hail Mary cycles through many phases, including a survival thriller, a buddy comedy, and a sci-fi adventure. Lord and Miller build appropriately toward this more serious pivot, even if there’s some herky-jerky motion amidst the transition. But that scrappy spirit of perseverance through imperfection feels in line with their hero’s own default operating mode.
  31. Closure
    Don’t expect the film to live up to its title. Don’t expect Marczak or his subject to find a way to tie up every loose end. Take in a difficult period in the life of a grieving father, unable to let go. It’s straightforward, sad, and somehow beautiful.
  32. Birds of War
    In the midst of our planet’s ongoing chaos, to see a beacon of light emerge from within doesn’t just make for a compelling film. It’s a message of hope, a story found alongside countless others scattered throughout the rubble of war.
  33. The Napa Boys
    Unafraid to shy away completely from the occasional crude humor, especially an early scene begging to be led by Will Forte, it fortunately never overstays its welcome, and for those who enjoy the payoff of hanging onto every line of dialogue, the best jokes throughout are the ones tacked onto the ends of conversations, almost as a comedic afterthought. It’ll make sense once you watch, more so than the plot itself.
  34. Hoppers
    Amidst all the noise and nonsense, Hoppers makes a winning case for the enduring value of dignity and respect for all creation.
  35. The Bride!
    There’s a floor for entertainment with a cast this strong, especially two leads who can contort themselves bodily and emotionally with such dexterity. But “The Bride!” spends too long operating at that level because it cannot escape the mire of confusion about its own identity.
  36. Dreams
    Once the basic parameters of Franco’s thought experiment in Dreams are grasped, what’s left is an obvious parable about immigration with little to offer beyond spitefulness and a smugly superior sense of self-loathing.
  37. At the Sea
    Alas, for a film that sets out to understand the specific malaises of the bourgeoisie at a time of increasing sociopolitical unrest around class inequality, Mundruczó’s drama feels not only tone-deaf but also egregiously vapid.
  38. How to Make a Killing
    The material’s dualities trap Ford between continents, not to mention genres and tones.
  39. Honey Bunch
    Honey Bunch is a work of art, but it won’t go down easily for everyone, and it’s sure to be divisive. Definitely watch it with a friend or loved one — whether you’re picking apart the plot holes or reveling in the reveal, you’ll need to debrief afterward.
  40. The Day the Earth Blew Up: A Looney Tunes Movie
    This film stands comfortably alongside its ancestors, a perfect detour in a time when it’s most needed and a wonderful experience overall.
  41. Wuthering Heights
    Fennell leans into excess not as provocation, but as emotional truth, letting obsession swell until it becomes the only language the film speaks. The feeling cuts here not as poetry, but as pressure—barbed wire wrapped tight around a heartbeat. In all its wildness, Fennell seals the film with an embrace and a bruise, then lands the kiss like a sudden dagger to the ribs.
  42. Frank & Louis
    Frank & Louis slips into being a film that’s observed and admired from a distance, not experienced emotionally.
  43. The Friend's House Is Here
    Framed by fearless and charismatic turns by newcomers Bahraminejad and Mana and beautifully shot by cinematographer Ali Ehsani, “The Friend’s House” is a remarkable depiction of life in contemporary Iran that will haunt you for weeks.
  44. American Pachuco: The Legend of Luis Valdez
    “American Pachuo” is just a nice movie about a visionary guy. Entertaining and educational, to be sure, but so frictionless it barely sticks.
  45. Nuisance Bear
    The overall point or purpose, beyond showing how a polar bear deals with a nearby human presence and vice versa, is conveyed relatively quickly, leaving the rest of the film to rinse and repeat until that final shot of a drowsy bear, resting atop a snow pile before a setting sun. It’s undeniably gorgeous, but what’s the greater message?
  46. Hanging by a Wire
    Hanging By a Wire is a nail-biting watch, one that never allows itself to become bogged down in excessive setup or backstory.
  47. Lady
    The downside is that Lagos is a more interesting character in this film than Lady herself, who Nwosu outlines with far less finesse. Such a glaring imbalance is symptomatic of the script’s overall flimsiness, which stands in contrast to this debut’s heartfelt performances and staggering visuals.
  48. The Musical
    While the kids are pretty fantastic overall, it’s the collaboration between Brill and Bonilla that takes Heller’s screenplay to another level.
  49. Soul Patrol
    Like many Vietnam stories, the film openly contends with the futility of the war, questioning the larger purpose behind it and how it affected these specific men. The film’s greatest strength, then, is in that specificity and its historical corrective.
  50. See You When I See You
    There’s a good movie about therapy and PTSD inside Jay Duplass’ See You When I See You. The trouble is, it’s buried in a so-so family ensemble film about shared grief and recovery.
  51. The Only Living Pickpocket in New York
    The Only Living Pickpocket in New York might not be anything revolutionary, but it sure is revelatory. Segan laments a bygone bustling past, speaks to an uncertain present, and points to New York’s eternal beacon of hope to tease the promise of future renewal.
  52. Leviticus
    At its heart, the film is a love story. A love story about two souls who need to trust each other if they want to survive.
  53. Ha-Chan, Shake Your Booty!
    Haru’s journey is more soulful and heartbreaking than you may want it to be. And that somehow makes the magical moments even more endearing.
  54. Chasing Summer
    Chasing Summer earns a lot of goodwill with a rowdy climax that plays into Shlesinger’s strengths as a humorist.
  55. The Gallerist
    Beyond some obvious pot shots and on-the-nose metaphors, it begins to feel more and more like a missed opportunity than smart satire.
  56. Gail Daughtry and the Celebrity Sex Pass
    Even the most hair-brained of Wain’s films have some quality elements, and Gail Daughtry and the Celebrity Sex Pass is certainly no exception to that rule. But it’s nevertheless a slight disappointment to see a luminary operating at the lower end of his power and promise.
  57. Extra Geography
    Overall, Manners’ feature debut is perfectly polished. Duggan and Clear are distinct talents who scream future stars (or, at worst, working talents for years to come). But as insightful as it all is as a portrait of those bumpy teenage years for young women, it does all feel a bit too familiar. Maybe even a little too safe and predictable.
  58. Send Help
    Send Help is pure Raimi: a survival thriller that disguises itself as corporate satire before mutating into something far nastier and more fun. It’s ridiculous by design, walking a razor’s edge between menace and mockery, and it thrives in that instability.
  59. Idiots
    Comfort with loveable loserdom is the glue – or maybe the scotch tape – that holds together a rickety contraption careening constantly toward calamity.
  60. Union County
    Union County offers something better than the Hollywood ending. It’s honest. It’s helpful. Perhaps, it’s even hopeful for those willing to sit with the uncomfortable reality of the condition, as Meeks and Poulter have. A transient victory is a triumph all the same.
  61. Zi
    For all its entrancing imagery, Zi is ultimately contrived in how the few concrete details of the narrative come together. The result is more experiential than thematically substantial.
  62. The Invite
    Wilde toils feverishly to create the illusion of momentum and communicates to the audience that they must be feeling such a sensation. But for all the belabored artistry of this choppily cut enterprise, little in “The Invite” actually moves. It’s potential energy, unconvincingly trying to pass itself off as kinetic.
  63. Josephine
    Facile explanations are absent from Josephine, as they should be, but what lingers is a sense that every gesture of empathy and bravery, no matter how small or imperfect, tips the scales towards good, even if trying feels like a losing fight.
  64. I Want Your Sex
    What’s fresh and compelling are Wilde and Hoffman. They are so stellar together that the film’s multiple endings work because they are front and center in them. In the end, almost despite Araki’s efforts, they make having “Sex” worth it
  65. The Incomer
    By the end of The Incomer, Paxton makes explicit that this is a story about making decisions from an outlook that favors hope over fear. And, at least for the duration of the film, he creates an imaginary universe where such a choice feels both logical and lovable.
  66. Carousel
    Carousel is another entry in a run of magnificent Jenny Slate performances.
  67. The Moment
    While it’s not a complete home run – it is a wee bit too long and certainly not as funny overall as it should be – in the end, it delivers. Because, love it or hate it, this film will linger with you. You certainly won’t forget Aitchison’s stirring performance.
  68. H Is for Hawk
    Finding ways to cope with any significant tragedy is hardly new, but in the hands of Foy and Lowthrope, it is.
  69. The Rip
    Carnahan may be the real MVP here. “The Rip” isn’t a masterpiece, and it can be blunt and workmanlike by design, but it’s brawny, confident, and it moves.
  70. Timestamp
    Pay a thought to kids growing up during wartime. Gornostai captures a snapshot of their everyday heroism on film, embalming it for future generations.
  71. 28 Years Later: The Bone Temple
    The Bone Temple does have plenty on its mind about illness and outbreaks—perhaps the sickness that is mankind and the freakshow we doomscroll witness every day— it simply buries those thoughts under layers of bloody viscera and wreckage. That’s the movie’s defining tension: beauty against barbarism, hush against havoc, and the fleeting possibility of grace pressed up against the certainty of carnage.
  72. No More Time
    It leaves almost nothing but questions as the credits roll, but from which it’s also just as easy to move on, a film with a title one may be thankful to say aloud as the realization that the runtime has concluded sets in.
  73. Anaconda
    Let this film with no bite serve as rock bottom for the IP era.
  74. Goodbye June
    Mirren is magnificent as the fading mother losing her fight against the inevitable, and Winslet wisely leans on this, as well as the other reliable performances from her overqualified cast.
  75. Cover-Up
    By the end, the movie’s harshest argument isn’t only that the government lies—it’s that ecosystems are built to manage the damage of those lies, from intelligence agencies to newsrooms to corporate interests that fear the truth like it’s an extinction event.
  76. Marty Supreme
    Marty Supreme isn’t a moral fable about discipline and sportsmanship; it’s a portrait of ambition as a living, breathing necessity—something Marty must manifest into existence, from his lips to God’s ears. Throughout the madness, Safdie finds an unexpectedly human pulse within the chaos, transforming it into an ecstatic, white-knuckle rollercoaster ride.
  77. A Poet
    A Poet is modest but engrossing and a successful attempt by Soto to transcend the stereotypes imposed upon him and his cinema as a Colombian artist.
  78. Ella McCay
    Call it “naïve-core,” perhaps, as the film so thoroughly loses touch with reality by avoiding conflict of any kind. His empty platitudes like “humans help humans” are rendered useless and risible inside a work that seems to lack even a basic understanding of humanity in 2008, 2025, or any time at all.
  79. Merv
    Another romantic comedy in a long list of contemporaries which, despite scant traces of effort, fails in making its title character anything more than second fiddle to the couple who should rightfully take his place.
  80. Anniversary
    With a film like Anniversary, any ideas formed from the jump best take occupancy at the door. This is not meant to establish an unexpectedly entertaining journey or incredible third-act twist, but rather something far more frustrating.
  81. Thoughts & Prayers
    The film’s anger is muted but unmistakable. “Thoughts & Prayers” is about a nation that would rather teach children how to hide, how to bleed, how to die — than pass even the most modest gun reforms. It’s about an America that keeps choosing adaptation over prevention, ritual over change, and performative sorrow over meaningful protection.
  82. Wicked: For Good
    Will it win over people who didn’t get on board for the first film? Probably not. Will the film’s darkness appeal to those wanting more of the same? It won’t be everyone’s cup of tea but that’s not the movie’s fault. Breathtaking and bold, Wicked: For Good is an epic and emotional event that will delight and enchant fans.
  83. The Carpenter's Son
    There’s more to recommend than not here, thanks to Nathan’s keen visual eye and Jupe’s complex interpretation of a figure often flattened into a neat function.
  84. The White House Effect
    There’s no time like the present for a viewing of The White House Effect, and there is no wrong audience, no one immune to the presence of climate change. For those who already know, take it in. For those on the outskirts, you might wonder if it’s needed. It is.
  85. The Alabama Solution
    By providing a voice to the voiceless, The Alabama Solution invites audiences into what they successfully argue is nothing less than a new frontier in the ongoing civil rights movement. Institutions may need more time to change, but any viewer of this film should only need two hours to be galvanized into action.
  86. Keeper
    If the people on screen only feel like characters, then no amount of creepy creature design or surprising twist can make a venture such as Perkins’ here register as anything other than an antiseptic experience.
  87. The Running Man
    The film ultimately feels like little more than hired hand work from Wright. What he lacks in compositional vision, he tries to make up for in clever casting (Colman Domingo, William H. Macy, and Lee Pace all deliver their best), as well as some simple gags. But like the people in Ben Richards’ fictional dystopia discover, amusing ourselves to death can only go so far. “The Running Man” settles for being good when, if the topline talent had leaned into their fortes, it could have been truly great.
  88. King Ivory
    It’s bleak and uncompromising, but it’s a hell of an experience.
  89. The Plague
    The Plague is a movie-movie, rather than a genuinely searching or affecting film about that most awkward age when fitting in with a group can seem like the most important thing in the world.
  90. Arco
    When Arco comes to its inevitable “E.T.” Inspired conclusion, the wondrous score by Arnaud Toulon may have you this close to shedding a tear. And you’ll wonder if this future is truly only an animated dream.
  91. Predator: Badlands
    A curious, half-successful mutation in the “Predator” bloodline, ‘Badlands’ wants to transcend the franchise’s primal instincts. Instead, it proves that sometimes survival means knowing what not to evolve. Or at least, pushing the envelope with greater execution and story conviction.
  92. Love+War
    Love+War doesn’t canonize Addario. It throws the audience into her contradiction: the duty to record history versus the duty to be present at home. It doesn’t answer whether those responsibilities can coexist, and that’s the point.
  93. The Love That Remains
    There’s a noble search for meaning in the grass, sea and mountains, but it couldn’t hurt to have characters vocalize their feelings even just once. There is a story here, though Pálmason only really alludes to it.
  94. The Hand That Rocks the Cradle
    Like so many straight-to-streaming releases, there are sparks of life here, but it all feels like a yawning afterthought that any strengths won’t so much be overlooked due to the flaws, but forgotten altogether because there’s simply not enough here to latch onto, good or bad.
  95. The Man Who Saves the World?
    There’s no question as to the compelling way in which McCollum goes about his journey, less a tent-style preacher barking commands at a receptive crowd but rather a kind individual with nothing more than the belief that his life has a larger purpose. The bigger questions remain unanswered, but just as the film’s title carries a question mark, was that ever the point?
  96. Black Phone 2
    There are scares, surprises, and it feels different, but also like a natural companion piece to the first movie.
  97. Is This Thing On?
    Is This Thing On? isn’t perfect. It stumbles where it should soar. But it’s alive with feeling, and that counts for something.
  98. TRON: Ares
    Ultimately, Tron: Ares is all voltage and no current—an aesthetic overload that confuses stimulation for meaning.
  99. Our Land (Nuestra Tierra)
    Despite the frustrations of its labyrinthine rhythms, Landmarks is a worthy companion to Martel’s Zama in its prodding at the contradictions of a country whose denial is so grave it will bend its language and its laws before acknowledging truths that shed light on the horrors of its past that painfully echo in the present.
  100. Anemone
    To see Daniel Day-Lewis reemerge under his son’s daring direction is more than a comeback; it’s a cinematic conflagration, a collision of legacy and reinvention that feels historic.
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