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For 4,853 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: 3,028 out of 4853
  2. Mixed: 1,313 out of 4853
  3. Negative: 512 out of 4853
4853 movie reviews
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  1. The Courier
    Dominic Cooke’s Ironbark is blessed with fantastic turns from Benedict Cumberbatch, Jessie Buckley and Rachel Brosnahan to up the stakes and make it all feel a bit fresher than it actually is.
  2. Downhill
    The value of Downhill comes from merging this story with these two distinct comic personas, and seeing what they do with it (and each other). That’s probably not enough of a reason for it to exist. But it’s not nothing, either.
  3. The Gentlemen
    If Ritchie had been willing to reflect on his relationship to his own body of work a bit more – the tropes of British gangster films that he himself helped create – then perhaps The Gentlemen could’ve found that next gear that would’ve made it something truly special. Instead, Ritchie’s film proves he might be best served by walking away from the genre entirely.
  4. Shirley
    One of the masterstrokes of Sarah Gubbins’s screenplay is how deftly she underscores the differences in the perception and presentation of the sicknesses within this marriage.
  5. Promising Young Woman
    There’s no denying that Fennell is playing with dynamite here, and knows it; the brashness of her approach and style is welcome, and her work is often riotously funny (especially when edging into darker territory).
  6. Possessor Uncut
    Possessor is a bloody existential fever dream that, at its best, is unnerving and thrilling, and, at its worst, is tiring and misbegotten.
  7. Cuties
    Its approach may not always work, but the film is undeniably ambitious, and implemented in an affecting way.
  8. The Night House
    Bruckner’s elegantly crafted film falls some way short of its grandest ambitions, but still sends you out into the night with a chill in your bones and the hairs stiff on the back of your neck.
  9. Kajillionaire
    It’s a film that requires you to indulge its patience-testing pace, monotonous dialogue delivery and frustrating anti-characterization for a very long time before you earn the right to unwrap the borderline transcendent gift of its absolutely beautiful ending.
  10. Jumbo
    As an embodiment of existential anxiety, it’s often effective, but other than stunning composition work and a few blips of vibrant harmony, it’s largely empty as a romance.
  11. Dick Johnson Is Dead
    It’s when Johnson strays from strict adherence to the concept that the most profound insights come.
  12. The Forty-Year-Old Version
    Blank knows exactly what narrative territory she’s in and uses the dramatic conflicts at bay to make a number of decidedly funny and oh, so painful points.
    • 70 Metascore
    • 83 Critic Score
    Herself
    A heavy film about the indignities victims of domestic violence have to experience to be safe, Herself still possesses much grace and doesn’t dare to wallow in its misery. It’s also a poignant film about what it takes to be at peace and how it is everyone’s duty to make sure their voices don’t go unheard.
  14. Bloody Nose, Empty Pockets
    By the time that the sun is up and Peggy Lee is singing “Is That All There Is?”, Bloody Nose, Empty Pockets has proven to be an impressively affecting and even slightly tragic piece about the homes away from home that provide comfort, as well as just how fleeting that comfort can feel in the bright light of day.
  15. The Fight
    The film is more of a curiosity, preaching to the already converted.
  16. Never Rarely Sometimes Always
    What an extraordinary film this is.
  17. Zola
    Empowering, saddening, amusing and aggravating in roughly equal measure, with a very small side order of social critique, Bravo’s film marks a huge step up for her and a definitive answer to the question that @_zolarmoon posed to Twitter in October of 2015: yes, y’all do wanna hear the story about why she and this bitch here fell out!!!!!!!!
  18. Bad Hair
    Simien’s strengths come to the forefront once again and that’s what makes it so difficult to pinpoint why the final product doesn’t exactly gel together as it should.
  19. Like a Boss
    Like a Boss is screamingly funny at times, thanks largely to the talented cast.
  20. The Sonata
    While The Sonata has no shortage of gripping moments, it’s still missing the weirdness and stylishness that made the similarly themed “Rosemary’s Baby” or “The Frantic” classics.
    • 34 Metascore
    • 25 Critic Score
    Disturbing the Peace
    With a lackluster script, shaky supporting characters, and weightless dialogue, Disturbing the Peace is the rare film that feels void of purpose or direction.
    • 65 Metascore
    • 75 Critic Score
    Miss Americana
    One of the strongest emotions that come through in the documentary is that the singer wants to be in control of who she is, her narrative, and her choices. So, it’s only fair that she is in control of her documentary because it will be watched by millions.
    • 58 Metascore
    • 75 Critic Score
    Troop Zero
    Characters this lovely only come once in a blue moon.
  24. Zombi Child
    Zombi Child is the rare film that’s both rich in ideas and fun, a reckoning with forces colonial powers would like buried, but that won’t stay dead.
  25. Dolittle
    It’s a dull, plodding retread with new souped-up VFX that’s deeply uninvolving.
  26. Bad Boys for Life
    What the newbies can’t recreate is the coked-up, jet-fueled delirium of Bay’s efforts, particularly the second “Bad Boys,” which may be as pure a peek into a narcissist’s id as has ever been captured in a summer studio picture. It’s a loathsome, ugly movie, but fess up, it’s one you’re still thinking about. Bad Boys For Life is, by most standards, a “better” movie. And you’ll forget it by next week.
    • 71 Metascore
    • 75 Critic Score
    After Class
    Schechter’s ideas remain strong through all of the confusion, and Long’s performance stands out due to its subtlety.
  28. Underwater
    You’ve gotta give Underwater this much, though: it’s not boring. It’s brief (95 minutes), knows exactly what it is, and Stewart and Cassell seem to be having a good time.
    • 41 Metascore
    • 42 Critic Score
    The Grudge
    Nicolas Pesce is a tremendous talent with a sick imagination that is distinctively his own, but “The Grudge” feels like payday one-for-them compromise. One that unfortunately sullies and derails the reputation of an otherwise on-the-rise filmmaker who should be above this kind of second-rate material.
  30. Cats
    The problem is not that Cats makes no sense . . . nor that the performances are mediocre (most of them are quite good). The murder weapon is the galling CGI intended to cover the actors in head-to-toe feline fur. Instead, the animation detracts from the film’s capable performers and inventive surroundings, drawing the eye reluctantly in like the sight of a person vomiting in the middle of an amusement park. It makes for a slow death, so overwhelmingly grotesque that it ceases to be interesting at all.
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