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For 4,876 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 1.7 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: 3,041 out of 4876
  2. Mixed: 1,320 out of 4876
  3. Negative: 515 out of 4876
4876 movie reviews
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  1. Saint Omer
    Diop’s Saint Omer doesn’t condescend to the viewer by slinking toward black-and-white offerings of good and evil, or broad statements about race or gender. This ripped-from-the-headlines narrative accomplishes a feat far more creative, and a bit less forced. It dances on the surface of these participants, and in their subtle ripples, to reveal the humanity in the seemingly inhumane.
  2. Confess, Fletch
    Confess, Fletch is an absolute pleasure – the mystery is a corker, and I giggled from beginning to end.
  3. My Policeman
    Styles, night and day here compared to his work in that other fall release, wonderfully inhabits a working-class man fearful of public scrutiny but unable to hide his true self.
  4. Catherine Called Birdy
    Catherine Called Birdy is delightfully witty, irrelevant, and modern-minded while carefully dodging the self-satisfaction and smugness that those descriptors can conjure up.
  5. The Fabelmans
    It’s Spielberg’s most personal film, one that gorgeously revives the memories of his childhood and youth with a lavish sense of wistfulness and an aptly Hollywood-ized, fable-like touch.
  6. This Land
    This Land often feels like a simplified (but not unwelcome) plea for sentimentality— its observational approach essentially diffuses any political reading. It’s odd to watch a film so invested in the rhythms of politics that is also strangely apolitical.
  7. Queens of the Qing Dynasty
    Sarah Walker is great in an unself-conscious way, foggily conveying Star’s blinking on-off struggle to bridge the gap between her inner monologue and the outer world. She speaks in a thick voice that sounds effortful and takes in the world with watchful, silent eyes. It’s the rare performance that’s magnetic in its passivity.
  8. Glass Onion: A Knives Out Mystery
    In “Glass Onion,” the filmmaker shows absolute mastery of his genre, and his craft. It’s pure, pop pleasure.
    • 76 Metascore
    • 91 Critic Score
    The Woman King
    The Woman King is more than an action movie. It’s a film that depicts a side of African history that is rarely told and an opportunity for Black people to assert their humanity and regality.
  10. All the Beauty and the Bloodshed
    Having these two storylines run parallel provides for both disconnect and whiplash, a narrative choice that emphasizes what Goldin beautifully labels “the darkness of the soul” — to be plagued to feel everything while concurrently condemned to nihilistic numbness.
  11. Bros
    You wish the film had a slightly more queer eye behind the camera (yes, that’s a genuine thing, Andrew Ahn’s “Fire Island” is an excellent recent example). Even for a major studio production, it might have helped. But if everyone around you is laughing, maybe it doesn’t matter. It probably means another Bros gets made which, hey, wouldn’t be a bad thing at all.
  12. A Compassionate Spy
    Steve James’ film not only convinces you to believe that a compassionate spy can exist but also to have compassion for a man who committed a traitorous act. And even though the editorial choices are leading in their execution, it’s no secret that A Compassionate Spy is a moving, thoughtful documentary.
  13. Love Life
    A busy web of interpersonal dynamics, Love Life often feels more concerned about its characters’ storylines and the way they all fit into each other than about what the audience might be getting out of watching it all play out.
  14. The Inspection
    The Inspection isn’t a bad movie. Rather it’s a disappointing slog because the arduous journey it sets up should have offered greater returns.
  15. Weird: The Al Yankovic Story
    This whoopie cushion of a film raises the concept of the lowest common denominator up to the highest highs of esoteric tastes and in doing so, gets closer to the essence of artistry than all of its self-important, straight-faced forebears.
  16. Clerks III
    While it’s not a perfect film by any stretch of the imagination, “Clerks III” is an achievement for Smith and definitive proof that the filmmaker is maturing.
  17. Sirens
    Baghdadi’s affection for cherishing quaint moments overwhelms the opportunity to fuse the band’s affable charm to a well-rounded depiction of modern-day Middle Eastern women existing on the fringes of their culture.
  18. 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.
  19. 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.
  20. Pinocchio
    Another lifeless live-action adaptation from the factory that’s inside the Disney vault.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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.
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