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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. Pavements
    There are meta-movies, and then there’s Alex Ross Perry’s Pavements.
  2. Joker: Folie à Deux
    Of all the things Phillips does better in Joker: Folie à Deux than he did in Joker, the best is by far his course correction in catering to radical misogynists. The director isn’t subtle in his nods to the controversy stirred by the original.
  3. Rebel Ridge
    Saulnier’s overall mise en scene is impressive. Everything from precision camera work, rigorous composition, framing and blocking, nimble, tight editing, and stress-inducing music, Rebel Ridge kicks ass in the best possible sense, entertaining, thrilling, and always captivating.
  4. The End
    All that being said, the songs are impressive enough that it’s not hard to envision “The End” becoming something of a cult musical. Five years from now, maybe less, some excited college freshman is going to convince the head of their college drama department to let them put on a stage version of this musical. And chances are, it will be a smash. This is material that, with some editing of its book (er, script), a spotlight on the songs, and natural physical intimacy, could flourish on the stage.
  5. Nickel Boys
    It’s somewhat remarkable a new work exists that sparks such conversation in the first place. Even if it doesn’t completely succeed, that’s art. That’s dynamic. That deserves your attention.
  6. Queer
    Queer feels unsettled and inconsistent—but never anything less than fascinating to watch unfold.
  7. I'm Still Here
    Given the unhurried pacing and general underplaying of the situation’s gravity, the film feels like visiting a museum exhibit rather than living through a flashpoint of history. Here, the past’s horrors are but pictures nestled safely behind glass.
  8. The Room Next Door
    There is something not quite right about this one Almodóvar film, a dramedy that emulates all that makes a story Almodovarian but bypasses its essence entirely.
  9. The Deliverance
    While the poor, urban setting of The Deliverance is a little bit unique for the supernatural genre, the way the suffering and dreariness within the backdrop collides with the ghastly misery of the unrelenting horror of it all is just several steps out of bounds.
  10. Wolfs
    At a time when more and more filmmakers seem to be looking back at the basics of classic genres like cop procedurals, romantic comedies and crime thrillers, Watts brings to the table a tightly written and directed action comedy that is reminiscent of the era that crowned the genre without alienating itself from the time in which it was made.
  11. The Friend
    Regrettably, any sympathy the film has mustered is diminished by at least three, maybe four, additional endings that are frustratingly superfluous. These never-ending epilogues add nothing to what has come before it and, in many ways, curtail any emotional heights the film has garnered to this point.
  12. The Brutalist
    It is hard to conceive of a director this young and early in his career to be able to deliver a film that comes out of the gates with the confidence and grandeur of a classic. And not a classic in the making, but one already made.
  13. Saturday Night
    Beyond Reitman and Keenan’s tight screenplay and a fantastic recreation of Studio 8H from production designer Jess Gonchor, the movie would not fly without an ensemble that may end up being legendary in its own right.
  14. The Order
    [Kurzel's] depiction of the action scenes is as close to a filmmaking tour de force as you can get. Even for those who know the fate of The Order and its members, Kurzel and editor Nick Fenton will keep you riveted. Until, alarmingly, they don’t.
  15. Conclave
    Like any good page-turner, Conclave is full of twists. Some you’ll see coming, and others will genuinely shock you. But this is smart, fiery melodrama.
  16. September 5
    A taught 91 minutes, September 5 is captivating on multiple levels and, frankly, a surprising success considering Fehlabum‘s previous work.
  17. Babygirl
    This back and forth between assuredness and doubt also makes “Babygirl” a refreshing look at BDSM and questions of consent and desire. Reijn is unafraid to have her characters play out all the wobbles that come with negotiating one another’s boundaries, reinforcing how pleasure comes from good communication. That the Dutch director manages to do so while crafting some of the hottest sex scenes in a major film in years and without dropping the ball in pacing this satire on the era of the politically correct feels almost impossible.
  18. Maria
    By creating — and persisting — on this on-the-nose parallel between the tragedy of opera and the one of Callas’s life, the duo sees this woman solely through the tragic value of her woes, denying her talent and her craft from the light that is true human connection, built not only through shared griefs but the deep understanding of one another that only great art can promote.
  19. Beetlejuice Beetlejuice
    It’s unmistakably a return to joy for a legendary director, and that goes a long way in making this film stand out in a sea of ill-conceived sequels.
  20. The Thicket
    Dinklage remains one of the finest actors around, and Lewis is undoubtedly more than capable of something better, with evidence seen here as she disappears within Bill, but all that holds “The Thicket” together does barely enough to qualify all that unfolds as just another movie.
  21. Greedy People
    It also portends to be a sincere moral fable about avarice and the way it corrupts people—via the bookends of the beginning and end of the story—but it hardly convinces and leaves one a little puzzled at the jejune attempt at blurting something meaningful after 90 minutes of wacky crime tales and dishonest people.
  22. Mountains
    Sorelle may not offer much hope in terms of how one can fight against these systems that preach continual change, but her film is still a striking if slightly overstuffed, debut from a filmmaker to watch.
  23. Alien: Romulus
    A monstrous return to form, similar to its placement in the timeline, “Alien: Romulus” nestles in the franchise’s top three podium position. The blood, sweat, and tears shed in bringing this vision to fruition weren’t in vain.
  24. Jackpot!
    For as many laughs as they’re trying to get, only about half of them land. All told, Jackpot is an action comedy that is light on laughs and heavy on repetitive droning fights. Jackpot even fails as a social commentary.
  25. Cuckoo
    Honestly, you almost wish Singer had the foresight to ensure everyone involved took the proceedings completely seriously. That might have resulted in a camp classic that would be more memorable than this often aimless and thematically thin endeavor.
  26. The Instigators
    This is a B-movie of the week at best, which should be starring also-ran actors looking for a paycheck, not some of Hollywood’s finest.
  27. I’ll Be Your Mirror
    Gray and his leads ably demonstrate how quotidian encounters and minute actions speak volumes. What’s missing is space for those little details to fully speak.
  28. Trap
    Shyamalan’s crafts a deceptively simple experience. The plot is rather ingeniously straightforward, at first, but the fraught journey of a father and killer trying not to upend and upset the carefully constructed delusional fabrication of his life—and how the two identities crash into each other on one fateful day— is exhilaratingly multifaceted.
  29. Rob Peace
    It does not take much imagination to imagine a version of “Rob Peace” where, given the room to sit with events, Rob’s journey provides a damning X-ray of American society’s shortsightedness. But far too often, the film settles for simply conveying information through dramatization.
  30. Deadpool & Wolverine
    The overall shape of the movie can sometimes be akin to F-word abuse for comedy. It can be thrillingly funny at first, especially coming out of the mouths of heroes you don’t typically hear such foulness from (not Wilson, obviously), but by the 90th time you hear an F-bomb, it starts to lose its value and power. Still, despite all its flaws, ‘D&W’ humorously diverts in the moment, but as a durable movie or even a long-lasting MCU film, it’s no slam dunk. Nostalgia doesn’t necessarily cause deep self-harm in the picture, but it arguably doesn’t help the aim to create a memorable and enduring movie either. LFG? Sure, I guess.
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