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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. Blonde
    This is a nasty, queasy, unforgiving piece of work. It is utterly devoid of hope. It’s as shocking as any slasher, as horrifying as any grizzly bit of wartime realism — yet there’s something so compelling about the director’s broader argument, and it’s rendered with rare visual deftness, with some big swing moments that land terrifically.
  2. Dead for A Dollar
    Dead for a Dollar provides a decently intriguing yarn within the framework of the Western that burrows a few inches below the surface. No one can say Hill didn’t hold up his end of the deal, which may be all that matters to him in the end.
  3. Pinocchio
    Another lifeless live-action adaptation from the factory that’s inside the Disney vault.
  4. Barbarian
    Barbarian is nasty. Whether you take that as a positive or a negative will be an entirely personal thing, but it’ll be a word that people on both sides of the opinion aisle will likely use to describe it.
  5. The Son
    There’s enough humanity from the story and performers alike that cuts to the soul and mostly offsets the uninspired direction. But “The Son” should shine at least a little brighter through the dark material given these participants and their previous triumphs.
  6. See How They Run
    Comedy is all about timing, and the timing here is all off, so the laughs are disturbingly few. What a missed opportunity this is.
  7. The Eternal Daughter
    While The Eternal Daughter manages to sell a truly spine-tingling atmosphere of ghosts, it feels closer to a thought and style experiment in the aftermath. But the film’s time-and-logic bending final reveal arrives as a gut punch nonetheless, with a restrained parting note both ethereal and lifelike.
  8. Icarus: The Aftermath
    The Aftermath may lack the novelty of the first film and often takes on more than its runtime can account for, but it also successfully adapts the genre of espionage thriller to the documentary form with riveting results.
  9. Don't Worry Darling
    Boldness and ambition may get the best of the film, but just like Booksmart, which announced the promising beginning of an intriguing directorial voice, Wilde proves she’s not a one-hit-wonder, at least technically and artistically. Don’t Worry Darling may be a misstep, but Wilde’s still got a flair for cinema that feels worth keeping an eye on.
  10. The Banshees of Inisherin
    Rich, layered, and full of beautiful shapeshifting emotional depth—at times laugh-out-loud funny, and then stopping on a dime to turn melancholy, heartrending, and or horrifying—The Banshee of Insherin will surely unsettle audiences trying to pinpoint blame or ascribe a hero or villain to the piece. Its morality and personal sympathies are purposefully opaque.
  11. The Whale
    What it boasts in abundance — in this riveting study of a deeply broken man, suffocated by nine years of self-immolation — is a rare and deep compassion, elevated by Fraser’s starring turn.
  12. Lady Chatterley's Lover
    Magee’s script doesn’t always give them enough material to play with, but Corrin runs with it and, most impressively, with a freedom that totally clicks with de Clermont-Tonnerre’s sensibilities. And yet, when the credits roll it feels like something is missing and, well, you somehow wish they’d pushed it even more.
  13. A Couple
    While it’s great to see an example of a filmmaker refusing to rest on his laurels or stay inside the nearly defined box of his cultural reputation, a film must be a film – not just a concept. Un Couple never quite manages to transcend its origins as a precious pandemic project.
  14. Empire of Light
    Despite Deakins and Mendes’ shorthand in framing gorgeous images, there are moments, especially in the second act, where the film could simply use a bit more energy. Luckily, for Mendes, Colman provides it soon after and when the movie needs it most.
  15. Pearl
    Flimsy logic notwithstanding, Pearl is the superior of the two heavily-stylized slashers, partly because it dedicates so much time to building the eponymous antiheroine from the ground up.
  16. Women Talking
    Dense isn’t always used as a compliment when describing a movie, but in the case of Women Talking it’s a badge of honor. Polley is tackling numerous social dynamics among the women as well as a number of contemporary themes including women’s roles in society, religious freedom, sexual liberation, and even gender identity.
  17. The Wonder
    As always, Lelio has a way with his actors. Nothing will ever feel forced. Even the most melodramatic stakes will feel grounded. And yet, despite a pointless framing device the film simply does not need, it’s missing some of the visual magic of his earlier films.
  18. White Noise
    Mostly, watching these characters tease out their problems is fun but from a far remove, and satire at such a safe distance starts not to really feel like satire anymore.
  19. Burial
    Clean narrative lines, top-notch production design, great acting, and Hollywood-grade cinematography and lighting elevate Burial above what might have been a forgettable schlock-fest.
  20. Athena
    Especially after the film’s stunning conclusion, Athena is destined to leave jaws on the floor and heart rates significantly elevated long after the credits roll. This is the painful, perilous present tense written in the flash of a smartphone camera and the blaze of a Molotov cocktail.
  21. The African Desperate
    The African Desperate is the work of an artist who has moved fairly seamlessly from the gallery to the cinema and has more than enough vitality and insight to join the canon of films about the Black experience in higher education
  22. Bones and All
    For all of the blood, guts, and gore, for all of the stomach-cramming gluttony, here’s a story brimming with extraordinary romanticism. What emerges, by the end, is one hell of an ode to giving yourself to the ones you love: your bones and all.
  23. I Came By
    The anger within this movie becomes muted along with its thrills. Anvari has proven to be a roller coaster horror filmmaker who should flourish with such freedom, but he loses the momentum here by his own design.
  24. Bardo, False Chronicle of a Handful of Truths
    For all of the visual treats on display and for the moving moments that are better left unspoiled, nobody thought to withhold this director’s greater indulgences. And that is a shame — because when ‘Bardo’ hits the softer note it strives for, it’s really something to behold.
  25. TÁR
    Though not without its blemishes, here’s a timely — and, indeed, timeless — piece about the corrupting essence of power, exploitation, and the burdensome nature of the crown, elevated by a hydrogen bomb of a performance from Cate Blanchett, inarguably at her best since 2015’s “Carol.”
  26. Riotsville, U.S.A.
    Somewhat ironically, like the social unrest that underpins much of the footage featured in Riotsville, U.S.A., the documentary is well-intentioned yet hampered by a lack of direction, clearly defined goals, and the support of a larger, established apparatus to lend it legitimacy.
    • 42 Metascore
    • 42 Critic Score
    The Immaculate Room
    Make no mistake, Bosworth and Hirsch give their all in this film, but no amount of fiery insult-slinging or saccharine ‘How we first met’ details can make this stale script seem new. The tropes aren’t just old, they’re antediluvian.
  28. Orphan: First Kill
    Orphan: First Kill only merits viewing if it is a viewer’s first exposure to the series. For anyone else, a rewatch of the original ought to do – it holds up remarkably well on repeat viewing.
  29. Beast
    It’s Kormákur’s directorial verve and vision that elevates Beast to something slightly more than just disposable entertainment. Perhaps one day, he’ll choose a studio blockbuster with a story more worthy of his talents.
  30. Look Both Ways
    That this catastrophe is director Wanuri Kahiu’s follow-up after her sublime debut “Rafiki” makes it all the more disappointing. Where that film has rich characterization, this has generalities. Where that film has vibrant cinematography, this has dreadful, bland compositions. Where that film has a detailed sense of place, this film has a disjointed, geographically murky portrait of L.A. and what appears to be a sponsored by SXSW and Whataburger view of Texas.
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