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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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    • 48 Metascore
    • 42 Critic Score
    Gold
    As a movie, things play out as an obvious parable about the greed that grips men’s hearts once civilization’s fires die out. In terms of a one-man show for Efron, however, it provides too little dramatic flair to show he has a range beyond his pretty-boy charms. The film’s scope and setting are too barren to give Efron that opportunity.
  2. The Adam Project
    When this time travel story is at its best, it gives Reynolds space to convey the frustration one can have about their past, including when facing their younger self. The movie doesn’t fill out this concept with too much imagination about time travel or villains, but it does wind up with a powerful parable about healing.
  3. Turning Red
    One of the most unique and unforgettable movies in Pixar’s grand pantheon.
  4. 14 Peaks: Nothing Is Impossible
    The film should read like an epic. Instead, it reads like a boilerplate sports doc; the kind kept on constant rotation in ski resort taverns where they might catch diners’ attention for a minute or two while they wait on chili and beers.
  5. Mother Schmuckers
    Maybe one day folks will come around to “Mother Schmuckers” as something so sincerely and unintentionally terrible that’s it’s worth watching if only as a joke, yet even that is a longshot.
  6. No Exit
    While its minimalism can make for a mixed bag of surprises, “Killing Ground” director Damien Power ensures that No Exit has enough of his own striking signature.
  7. The Batman
    Matt Reeves’ The Batman should tell audiences that other superhero movies are possible, and yet more, they can be had outside the formulaic tentpoles filling theaters today.
    • 59 Metascore
    • 58 Critic Score
    A Banquet
    With a little more focus, “A Banquet” could be a haunting portrait of a family in crisis, an adolescent adrift, and mothers’ care gone sour. As presented, however, it’s an elaborate yet clumsy slice of domestic horror that bites off more than it can chew.
  9. The Ledge
    As good as she is, and as timely as the film can be, it is frustrating that the villain seems to have waltzed in from a 1930s noir.
  10. For Lucio
    Even with the notable gaps in Dalla’s story and slight storytelling, For Lucio works as a professional, if not precisely personal, introduction to the renowned musician, showcasing how his songs reflected a country that was grappling with class struggles and an identity crisis during the 1970s.
  11. Alcarràs
    In its expert blend of vivid cinematography and naturalistic performances, Alcarràs creates a refined study of heritage that understands life’s permanent absence of resolution – with every hard-earned answer comes a new riddle.
  12. The Novelist's Film
    Though it lacks the near-spiritual dimension of the recent “In Front of Your Face” (Hong’s best in years), The Novelist’s Film is another focused, charming autofiction, well-structured yet open to the inspirations of serendipity.
  13. Texas Chainsaw Massacre
    No one can top Hooper or “The Texas Chainsaw Massacre,” or even match them. Garcia is smart enough not to put on airs. He just lets Leathersaw rip.
  14. Dog
    Tatum and Carolin might have been capable of the light, personality-driven fluff the trailer promises, but not, ultimately, whatever the hell Dog is trying to deliver.
  15. Dark Glasses
    Together with the firm confidence of its execution, perhaps it is this sincerity that marks Dark Glasses as a touching late work from a master.
  16. This Much I Know to Be True
    Those who have seen "One More Time With Feeling" will undoubtedly have a deeper appreciation for this follow-up companion piece, but — even for the ones unfamiliar with either Dominik’s or Cave’s work— This Much I Know To Be True still proves powerful even if consumed as a concert film alone.
  17. The Passengers of the Night
    Gainsbourg is riveting in her portrayal of the intricacy of this pattern, her hands grasping for the tangibility of doorframes when words seem far too futile, her back arching and contracting to respond to ecstasy and sorrow.
  18. Coma
    In an oversaturated market for pandemic-themed films, Coma is a delirious marvel of a reminder that, in the right hands, there is no such thing as an unfeasible subject.
  19. Both Sides of the Blade
    Marie never seems particularly interested in either man except for how they are interested in her and is revealed to be so self-centered in her pursuit of amours both fou and entirely rational, that she is far less likable than Binoche’s disingenuously bright-eyed and forthright performance can account for.
  20. Uncharted
    Fleischer channels the tenor of the influences his film wears on its sleeve: the manipulative music demanding awe, the lighthearted spirit of the action, the smirking star-power needed to sell quippy banter. But his tonal fidelity cannot entirely cover the seams of this sloppily assembled script.
  21. Flux Gourmet
    This is Strickland’s grand act of prestidigitation; he coaxes out something like poignancy from the peculiar, just as he conjures the visceral and unknowable from ordinary groceries.
  22. Incredible But True
    Dupieux, a director who has always been attuned to the absurd humor and casual beauty of the every day, effortlessly aligns us with Alain’s perspective.
  23. Malmkrog
    Stewing in the film’s carefully crafted atmosphere of hypocrisy is, however, essential; values and attitudes deconstruct when they’re oversoaked. But make no mistake, the ride will be demanding.
  24. Superior
    Superior falls short of inhabiting the period within which it purports to exist.
  25. I Want You Back
    Though the film boasts an impressive comedic roster and delivers a surprising number of thoughtful, emotional beats, its aimless storytelling and tonal confusion result in a middling end product that ends up more forgettable than anything else.
  26. Big Gold Brick
    No matter how one tries to unpack the curious contents of “Big Gold Brick,” they’ll likely be unable to find much of anything outside of an unintelligible failure.
  27. Bigbug
    This movie has Jeunet doing “The Jetsons” while ruminating on what a robot uprising might inevitably look like, but that proves to be less exciting than one could ever imagine.
  28. The Sky Is Everywhere
    The story beats are predictable, but Decker forges her own unruly and unforgettable path through them, crafting a teen film with avant-garde flourishes that attempt to find a balance between style and substance.
  29. Marry Me
    Even with a handful of toe-tapping songs written by Maluma and JLo specifically for the film Marry Me is an off-tune rom-com that should make most viewers think twice about saying “I do.”
  30. Kimi
    Soderbergh’s direction is, per usual, tight and efficient (as is his editing – it runs a lean, mean 89 minutes).
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