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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. Star Wars: Episode IX - The Rise of Skywalker
    The Rise of Skywalker; is as much metafiction as Johnson’s film was. Rather than asking questions about what we really want from a series like “Star Wars,” and whether we’re ready to allow our childhood fictions to grow with us, J.J. Abrams and crew decide to lean on the emotional warmth of reunions, friendships, redemptions, and goodbyes. There is some heartfelt value here, or at least, some of it does admittedly produce some anthemic feels, but it doesn’t hold much weight.
  2. 6 Underground
    The film is a pure expression of the id for a filmmaker who thrives on moving at 100 cuts per second; for everyone else, as the expression goes, your mileage may vary.
  3. Bombshell
    While Bombshell cumulatively paints an accurate portrait of the culture of silence that enables male entitlement against women they see as expandable, it seems unsure of the right way to handle conservative hypocrisies perpetuating that very toxicity.
  4. Knives and Skin
    Knives and Skin presents an unsettling mix of girlishness, macabre, sweetness, and despondency best encapsulated in a nail polish color sported by one of the characters: Rotting Corpse. Its humans are alien, its script is bizarre, its visuals are gauche. But this so-wrong-it’s-right feminine dirge puts the “fun” in “funereal.”
  5. Colewell
    Authentically pensive and distressingly honest, Colewell remains true to its convictions by prominently exhibiting the uncomfortable truths of growing old. Remarkably, the film’s subject matter is treated with an impressively respectful restraint, opting to stay grounded and not venture down melodramatic sideroads.
  6. Radioactive
    If Radioactive spent more significant time with Curie’s eccentricities . . . we might have arrived at a real character study. Instead, the biopic’s strained narrative bonds dissolve, awash in a series of disconnected events.
  7. 1917
    The proximity and intimacy of the technique render Schofield and Blake’s journey more visceral, and more frightening. And as a result, at its conclusion, the catharsis lands with the force of a hammer.
  8. Little Women
    Little Wome fills and drains your heart, fills and drains your heart, fills and drains the heart. But the best remains the same. ‘Little Women’ lives by vitality and hope.
    • tbd Metascore
    • 50 Critic Score
    Autonomy
    Ultimately, Autonomy doesn’t have the sort of attention-grabbing hook that can really elevate a doc – there’s no stunning footage or unique personal connection to the material. That overarching lack keeps Horwitz’s doc from being more than something to watch on your couch on a lazy afternoon.
  10. When Lambs Become Lions
    Adding to the fraught complexities of economic insecurity and environmental devastation, When Lambs Become Lions wraps its story in a sweep of broodingly gorgeous imagery.
  11. Richard Jewell
    The director’s best asset remains his indelible style. In his films, he usually doesn’t employ much fluff, limiting how often he cuts. Instead, he relies on pans and savvy blocking. That’s imperative in Richard Jewell, a steady biopic whose best upticks arrive through patience.
    • 61 Metascore
    • 58 Critic Score
    Shooting the Mafia
    Shooting the Mafia is most fascinating when it uses Battaglia’s story, her reminiscences, and her unforgettable photographs, to show rather than tell the painful circumstances of Sicilian life under mob rule.
  13. Frozen II
    While lacking the surprise and simplicity of the original “Frozen,” the sequel is still largely wonderful in its own right. It fearlessly transforms the original characters and even its own storytelling format, eschewing the familiar for something grander and more complex.
  14. Queen & Slim
    Queen & Slim is an extraordinary Black Odyssey; a film whose tracks reverberate with echoes of the underground railroad.
  15. Mickey and the Bear
    Both performances at the film’s center are just outstanding.
    • 73 Metascore
    • 75 Critic Score
    Dark Waters
    It’ll be much too easy to bail on what is a very slow-building first 30 minutes for those watching on a streaming service in the near future. If they make it an hour in, they’ll be pleased to know that John Denver’s “Take Me Home, Country Roads” is prominently featured, as any West Virginia film seems obligated to boast. But outside of that, the lack of respite is rightly suffocating and will be unfortunately repelling for those who approach film as a mindless escape.
  17. Danger Close
    The Battle of Long Tan is fascinating, not only for its tactical outcome but for the historical blindspot, which has effectively marginalized contributions to the war made by Australia and New Zealand. After the film ends, what lingers is the photography and archival footage that accompanies the end credits; with a little bit of context, that’s a film that needs to be told.
  18. Charlie's Angels
    There’s no big action set piece à la “Mission: Impossible” here and no single line of memorable dialogue to reference. But someone will have created a supercut of Kristen Stewart’s best moments on whatever app replaces YouTube, and that will remain more indelible than the movie as an actual movie, especially for the girls who see themselves or women they want to see on screen.
  19. The Kingmaker
    Maybe Marcos imagined this documentary would humanize her. Greenfield did. But not in the way that her subject would have preferred.
  20. Primal
    For all of the delightfully deranged places Primal could’ve gone, it stays drearily buttoned up.
  21. Last Christmas
    For all its flaws, Last Christmas isn’t a bad time, despite being a bad movie. Credit Clarke and Golding — or that rum-heavy egg nog you should drink before the opening credits.
  22. The Current War
    The only aspect of the film that even makes it watchable ends up being Shannon’s portrayal of Westinghouse.
  23. Doctor Sleep
    Much like “It: Chapter Two,” Doctor Sleep is an odd generic blend. Part horror, part fantasy, part “The Shining” Oscars tribute, it engenders confusion more often than delight.
  24. Paradise Hills
    If Waddington’s fairy tale harbored any substance to counterbalance its external beauty, it might have established itself as a pleasingly subversive piece of pop art. Yet, despite its commendable goals, Paradise Hills will likely be lost to time.
  25. I Lost My Body
    Simply put, this is an expertly directed first feature. Clapin’s willingness to be patient as a scene unfolds, to let the hand experience the surreal images from its perspective, to let the quiet captivate the audience is beyond impressive.
  26. Countdown
    Countdown is completely inessential and adds absolutely nothing of value to the cautionary tale genre of technology horror.
  27. Terminator: Dark Fate
    Hamilton, Reyes, and Davis do everything possible to inject emotional energy into this slashing, crashing sequel, but in the end, even their efforts are ground up by the action movie machine.
  28. Greener Grass
    Counterbalancing a tongue-in-cheek treatise condemning the shallow obliviousness of the upper-middle class with niche comedic thrills, Greener Grass earns its reputation as a delightfully nauseating charmer that should be regarded as a salvia-covered tour de force for years to come.
  29. Zombieland: Double Tap
    A repetitive, uninspired, and ultimately braindead sequel.
  30. El Camino: A Breaking Bad Movie
    The film is undeniably entertaining, it’s fun to see these characters and creators again, and hey, who am I to begrudge them a victory lap? But ultimately, the contrast between the epilogue film and the source material is undeniable.
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