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For 3,671 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Always Be My Maybe
Lowest review score: 0 Love, Weddings & Other Disasters
Score distribution:
  1. Positive: 2,240 out of 3671
  2. Mixed: 992 out of 3671
  3. Negative: 439 out of 3671
3671 movie reviews
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  1. The Owners
    The Owners is tense, uneasy and brutal, escalating from the creepy to the ludicrous over the course of 92 deliberately unpleasant minutes.
  2. Gosnell: The Trial of America's Biggest Serial Killer
    A film that could have been taken seriously as a drama — a politically one-sided but nonetheless competent drama — devolves into ghoulish sideshow grotesquery.
  3. Ghosted
    Sure, Ghosted feels mostly awkward, but everyone seems to be in on the joke for some shameless fun. And that’s all you might get from this movie, a little pick-me-up before you ghost it forever.
  4. Donnybrook
    The cynicism of Donnybrook is overpowering, but unfocused. It’s easy to see why some people would react strongly to its ugly tale of misery and violence, and yet without context and contrast, without making statements beyond “the world sure does suck,” Sutton’s film feels frustratingly hollow. It makes an impact but leaves no impression.
  5. Stardust
    Flynn’s ferocious commitment to the role is something to admire, even if we’re not completely convinced.
  6. If I Stay
    While many of the big moments of If I Stay can be easily dismissed, it's the little ones that elevate the film to at least mixed-bag status.
  7. Bad Boys for Life
    The stars certainly aren’t acting like their participation is a mercenary endeavor. Lawrence and Smith seem to enjoy their goofy-meets-gung-ho responsibilities, and that counts for something in these types of movies, as is a tone decidedly less mean-spirited than the last one’s, and a central car/motorcycle/helicopter chase that distracts you with thrills rather than wear you down with overkill.
  8. F1: The Movie
    Kosinski’s antiseptic visual style and Ehren Kruger’s limp screenplay (with a co-story credit by Kosinski himself) make 'F1 The Movie' an incredibly sterile film about virility. It’s so manly it can barely perform.
  9. Yardie
    There’s no question that Elba is a talented actor, but his debut on the other side of the lens falls a bit short. Director needs to make decisions to get a story across, and Elba appears to have been too shy or too reluctant to make them. Yardie suffers for it.
  10. Exodus: Gods and Kings
    This stodgy adaptation creaks with solemnity — not to mention reactionary casting choices — and apart from some nifty frog and locust infestations, even the special effects pale next to a wind-blown Charlton Heston parting the Red Sea.
  11. Welcome to Me
    There’s a sketch, or a short film, or even an Adult Swim series to be mined from these characters and situations, but as a feature film, Welcome to Me comes off like taunting followed by hugs, where neither feels genuine.
    • 63 Metascore
    • 47 Critic Score
    Fingernails
    The movie only scratches the surface, bringing together the sexually potent Buckley, White and Ahmed but unable, or perhaps unwilling, to capture the passion of which they’re capable.
  13. The Watchers
    The Watchers' isn’t very scary and it’s only interesting for as long as it’s an intellectual curiosity, and it’s not intellectual curiosity for the full 102-minute running time.
  14. Alita: Battle Angel
    The film is stuffed with so many plot strands and so many different genres (sports movie, YA rebellion movie, bounty-hunter movie) that it never gets moving.
  15. Super Troopers 2
    Even though they sometimes land a great joke, the troopers aren’t inherently amusing or even all that likable this time around. They’re undeniably corrupt cops, even if they are relatively benign about it. Super Troopers 2 still manages to be funny quite a bit of the time, but the word “funny” needs an asterisk next to it, warning that the laughs might carry with them a certain amount of guilt.
  16. Sicario: Day of the Soldado
    All the human strife, all the political squabbling, comes across like an excuse to be “badass” but high-minded about it. The film’s shootouts are “cool” but lack anything resembling a meaningful perspective, so when the characters talk about the political rationales for their violence, it rings hollow. And when the bullets fly, nothing else seems like it ever mattered.
  17. Sausage Party
    There’s a goofy spree of a movie buried deep within Sausage Party, but it’s missing both the spree and the goofs. This comedy needed to be a lot smarter if it wanted to succeed at being this stupid.
  18. LBJ
    Rob Reiner’s LBJ is an often pedestrian, sometimes punchy, well-acted biopic that gives the mightily capable Woody Harrelson the reins of the country’s 36th commander in chief.
  19. Common Ground
    Even if you agree with the film’s political lean, it’s hard to overlook the unorthodoxy. Common Ground smacks of propaganda masquerading as documentary. If such can qualify as documentary, then so should reality TV.
  20. God's Own Country
    Instead of making us feel that these boys are meant to be together, God’s Own Country unintentionally suggests that Gheorghe should get himself to a city where his silky dark hair, bedroom eyes and developed aesthetic sense might be far better appreciated by others.
  21. The Goldfinch
    The Goldfinch, the novel, was a testament to the power of The Goldfinch, the painting – but The Goldfinch, the movie, can’t be more than a footnote to the mysteries and the grace of the works that inspired it.
  22. Peppermint
    Peppermint ultimately possesses the stale predictability of an unwrapped candy discovered at the bottom of a purse.
  23. In the Lost Lands
    It’s a grim slog through the wastelands of human civilization, which makes a big deal about the generic parts and glosses over all the thrilling weirdness.
  24. Hands of Stone
    Unfortunately, the new biopic Hands of Stone...is too often content to play like a lot of other boxing flicks instead of forging its own path.
  25. A Tale of Love and Darkness
    A Tale of Love and Darkness seeks to blend serious political history and probing psychological analysis. The effort does not succeed, coming across disjointed and grim.
  26. Love
    Love feels deeply, but not complexly. Both Murphy and Noé’s sustained sex scenes understand want and need, but there’s little to invest in emotionally.
  27. Paranormal Activity: Next of Kin
    There are some potent shocks here, but the strongest aspect of the film is the unmistakable odor of squandered potential.
  28. Rebel Moon Part 2: The Scargiver
    Even if a superior version of 'Rebel Moon' does come out eventually, that doesn’t make these versions any better, and they’re the only versions we have right now. They’re both shallow and generic space operas, distractingly derivative of better films while adding very little to the mix.
  29. Joy
    This is a rare misstep for Russell, who in the past has sold us on all kinds of stories, whether they’re as indescribable as “I Heart Huckabee’s” or as traditional as “The Fighter.” Unlike his indefatigable heroine, however, Russell just can’t seem to close the deal on Joy.
  30. We Are Your Friends
    Besides Bentley’s performance, the only thing “We Are Your Friends” has going for it is the occasional directorial flourish, with words on screen or characters addressing the camera or that painterly drug trip. These jolts are few and far between, but they’re most welcome when they arise.
  31. Unhinged
    A brutal action flick that’s running on ugly from start to finish, the film from director Derrick Borte flirts with having something to say about stressful, angry times and toxic masculinity, but settles for letting Russell Crowe glower, seethe and leave a whole lotta destruction in his gruesome wake.
  32. Daddy's Home
    Ferrell and Wahlberg are both game, but the material only sporadically lets them let loose and do something truly creative, while poor Cardellini transitions from naggy to unreliable.
  33. The Happytime Murders
    The one-joke nature of this adults-only spoof wears out the film’s welcome, even if director Brian Henson and his talented crew never let us see the strings.
  34. Laal Singh Chaddha
    Aside from how unnecessary remakes tend to be, what’s imperative is to consider whether a story with such a simplistically offensive depiction of disability as an enchanting characteristic can have a place in today’s world, as we collectively try to move away from unchallenged amusement that thinks it’s uplifting even as it punches down.
  35. F(l)ag Football
    Most of these guys want to be “guys” in the most conventional ways, but at its best, this is a movie about how deviations from that norm can still be taken in and accepted and even championed.
  36. Supernova
    If the script undercuts the enormity of what their characters are enduring, the two lead actors rescue the film from utter negligibility.
  37. Dual
    Ultimately the movie asks a lot of us, while simultaneously withholding too much. The concept remains compelling, but the execution both figuratively and literally falls flat.
  38. In the Heart of the Sea
    Lovers of spectacle for spectacle’s sake will come away from the film with many discrete sequences to admire, but there’s not enough of a human element to bridge them together. In terms of its lasting power, In the Heart of the Sea roars in like a great tide, but then just as quickly dissipates.
  39. The Last Word
    If nothing else, The Last Word demonstrates that Shirley MacLaine still has the comic chops and screen presence that have made her a Hollywood legend.
  40. Stuber
    With a title that’s almost as lazy as its script, Stuber is a lackadaisical attempt at a “woke” buddy-cop comedy that just can’t figure out how to fuse together its story with the message it is trying to promote.
  41. Mean Girls
    It’s a sanitized, Cliff’s Notes version of the original with a few songs thrown in. It’ll be great for audiences to see Renee Rapp, if they don’t know of her already, but she’s not in it enough to help save the rest of the film. This may not be your mother’s “Mean Girls” but it’s doubtful it’ll be anyone’s.
  42. Brian Banks
    Perhaps the worst thing a film can be, even more so than the binary of good or bad, is forgettable.
  43. Self/less
    About the best that can be said about the sluggish Self/less is that it’s a better Ryan Reynolds body-switching movie than “The Change-Up”; still, you’re better off seeking out “Seconds” — or heck, “All of Me” — instead.
  44. Nine Days
    When a movie doesn’t hold up to introspection as a whole, it’s best to examine its parts. And some of those are admirable.
  45. The Miracle Season
    Ultimately, The Miracle Season mistakes an inspiring true story for one that needs or deserves to be told cinematically; it isn’t awful, but it’s not a film, it’s a tribute, and unfortunately, one to the memory of a young woman who would be better honored by people actually “living like Line” than watching a formulaic, fictionalized retelling of her community learning what that means.
  46. The Last Witch Hunter
    The Last Witch Hunter aims for pulpy, comic-book fun, but it’s never as fleet, funny, or detailed as it needs to be. And if you’re looking for something above middling in terms of plot, characters, world-building, even action sequences, you’ll need to seek it elsewhere.
  47. Juliet & Romeo
    Never was a film I’m more likely to forget, than this of Romeo and his Juliet.
  48. Beauty and the Beast
    This new mainly live-action Disney version of the oft-told story directed by Bill Condon feels largely perfunctory. Where it flounders most is on the miscasting of several crucial roles.
  49. Clementine
    The approach is dramatic and artful, to a degree, but also so studied and stylized that you yearn for some kind of release – and after about an hour, it becomes wearying unless you’re fully submerged in this world.
  50. Fifty Shades Darker
    It’s nice that the two photogenic leads are treating sex like a pleasurable activity rather than an onerous chore in this second entry, but overall, the film plays like an un-asked-for collaboration between the Hallmark and Playboy Channels.
  51. The Munsters
    Zombie’s film, though clearly sweet and well-intentioned, seems only partially formed, a Frankenstein monster with only half the parts.
  52. Father Stu
    Anyone who’s sat through enough of those Christian films and watched them with a critical eye (and not for the mere indoctrination) can easily tell that the basic craftsmanship of Father Stu is on a different level. That doesn’t necessarily make this an admirable production, but at least it’s a proficient one.
  53. Hotel Artemis
    Though it boasts an agreeably preposterous scenario and a weird mixed bag of physicalities and acting styles — from Foster and Sterling K. Brown to Jenny Slate and Dave Bautista — the movie is itself an eye-rolling performance of cyber-pulp tropes and pop-movie excesses that undercuts its spotty pleasures at nearly every turn.
    • 31 Metascore
    • 45 Critic Score
    Fifty Shades Freed
    It’s clichéd, stodgy and overly faithful to the original books.
  55. 13 Hours: The Secret Soldiers of Benghazi
    In terms of anything that has to do with characterization, Chuck Hogan‘s script is punishingly rote. But as bombastic, shoot-‘em-up spectacle, 13 Hours is a visceral, well-paced and often beautiful action-thriller.
  56. Beatriz at Dinner
    Somehow, the blistering comedy you would expect never quite manifests, and instead we get a lot of on-the-nose sermonizing and weak-tea social commentary.
  57. The Tender Bar
    It’s surprising that this effort from Clooney is as flavorless and unrooted as it is, because his better directorial turns are the ones grounded in character more than style.
  58. The Lost Girls
    The Lost Girls gets stuck somewhere in the middle of magical realism and a gritty psychological exploration of what it means to believe in Peter and still live in the real world.
  59. A Big Bold Beautiful Journey
    I admire you for trying to make it work, A Big Bold Beautiful Journey, but I think we should both see other films.
  60. Vivarium
    Feeling simultaneously overstuffed and undercooked, Lorcan Finnegan’s Vivarium tries to ring a warning bell about, well, a lot of things. In the end, though, it works best as a cautionary tale about the pitfalls of filmmakers biting off more than they can chew.
    • 43 Metascore
    • 45 Critic Score
    The Takedown
    Ultimately, The Takedown is a goofy retro buddy cop movie with decent action scenes at best. At its worst, it’s as awkward as the diversity and inclusion publicist following Ousmane around, desperate for a relevant quote.
  62. Snatched
    What we’ve gotten in Snatched is an uninspired, scattershot disaster romp that mostly serves the talents of one half of the marquee pairing, underuses the other half, and struggles to blend R-rated humor, foreign misadventure, and oil-and-water mother-daughter dynamic into a cohesive diversion.
  63. Pokémon Detective Pikachu
    If you have waited your entire life to see this world brought to life, and to watch humans and Pokémon occupy the same space, then Detective Pikachu may well be everything you ever wanted. But for those of us who don’t know a Jigglypuff from a Charizard, this film scores low on wit, coherence and engagement.
  64. A Dog's Journey
    While A Dog’s Journey never looks any better than a TV movie, it is more satisfying than “A Dog’s Purpose,” largely because it revolves around a single human-canine relationship.
  65. Hello, My Name Is Doris
    Field uses her considerable powers as an actress to imbue some humanity into Doris, but the film kneecaps her efforts at every turn.
  66. He Named Me Malala
    Grace and poise are certainly embedded in Yousafzai’s DNA, but there’s frustratingly little of her vulnerability or interiority in the film.
  67. UglyDolls
    Doubling as both a colorful recycling bin for tropes and ideas from a variety of preexisting children animated features and a casting session for “The Voice”‘s next batch of hosts, Kelly Asbury’s plush-inspired film UglyDolls is underscored by a well-intentioned message of self-acceptance, even if the delivery vehicle is unremarkable.
  68. The Boys in the Band
    Whether or not you think Crowley’s very of-its-moment piece still has something to say to audiences of the 21st century, it’s a play that deserves better than this waxwork karaoke.
  69. Ready Player One
    Overall, the movie left me feeling bombarded with images, bored by the lack of an interesting story, and irritated with my own cultural past.
  70. Driver's Ed
    Driver’s Ed is mildly amusing at best. It’s a good-natured and good-hearted film without much of the edge or hilarity the Farrelly brothers brought to Dumb and Dumber or There’s Something About Mary.
  71. My Oxford Year
    My Oxford Year is shiny and affable, and if that was the assignment it’d get an 'A' for effort . . . actually that’s going too far, let’s make it a respectable 'B.' But that’s not the assignment.
  72. Four Samosas
    The lack of stakes in this film come from its quirky style and shoddy writing. It’s perfectly possible for well-written film to be silly, but the levity in Four Samosas fizzles into nothing.
  73. The Marksman
    Neeson has certainly starred in worse action vehicles than The Marksman, but rarely have they been more forgettable.
  74. Minions: The Rise of Gru
    As lackluster as this scattered-brained saga is, the animation team of “The Rise of Gru” does excel at constantly reminding us that we are in the 70s via its production design.
  75. Artemis Fowl
    While an energetic kids’ fantasy with cool creatures fighting each other is probably a reasonable win for Disney’s new premium service in these days before most theaters reopen, it’s hard to watch it as an adult and not wish for something that produced a little more magic of its own.
  76. Landline
    Crumbling nuclear families are a well-worn movie genre; you could even add “in Manhattan” to that description and the examples would be many. “Landline” is simply another one, not appreciably worse than the average, but not much better, either.
  77. Mafia Mamma
    While Hardwicke’s direction is slick across picturesque Italian locations and various high-octane set pieces that are shockingly bloody, there isn’t a lot she can do to rescue Collette’s fish-out-of-water protagonist from a lackluster mafia comedy with romantic undertones.
  78. Step Up: All In
    Even if the big numbers in Step Up All In don't always hit the heights of its immediate predecessors, there are enough exultant moments – during the crew battles or Sean and Andie's pas de deux on a carnival ride — to tide you over until the inevitable Part Six.
  79. Aardvark
    Aardvark is the sort of movie that gets by with its unpredictable where-is-this-going vibe for about a half-hour or so.... But it becomes apparent at a certain point that the set-up is pretty much all there is to this movie.
  80. Becky
    For all its wide-eyed embrace of murder and mayhem, the film feels rote as it goes about its bloody business.
  81. Angel Has Fallen
    No one has ever accused a Gerard Butler action movie of being too smart, but “Angel Has Fallen” operates on such a level of half-considered logic and improbable motivations that even moderately well-mounted action can’t distract audiences from how dumb it is.
  82. Max
    None of these plot points are run through with any thoughtfulness or panache. Despite a great, unaffected performance by Wiggins — the only one among the cast — and the primal joy of seeing the dog actors sprinting, leaping and maybe even emoting, the film is sunk because the characters never transcend their seeming origins in a Disney Channel movie project.
  83. Unfinished Business
    Unfinished Business isn’t a laugh-free experience — Nick Frost steals every scene as a business underling with a kinky side — and some of the comic set pieces actually work.
  84. Kin
    It never feels complete or thought through enough, either as a story or more crucially, an emotional experience — which is exactly what audiences would need in order to want to see more.
  85. Asphalt City
    Impressive in its single-mindedness, this is nonetheless a movie that dares you to try and like it – and most likely, few will take Sauvaire up on that dare.
  86. Dumbo
    Neither poignant nor eccentric, this just feels like a lesser 1970s Disney live-action comedy smothered in digital effects.
  87. Tyler Perry's A Madea Family Funeral
    If writer-director-star Tyler Perry makes good on his threat to make A Madea Family Funeral the final film featuring his larger-than-life comedic heroine, then Madea will going out with a whimper and not with a bang, even by Perry standards.
  88. Poolman
    The film never fully commits itself to neo-noir beyond the plot.
  89. Wasp Network
    When Ramírez and Cruz, or Moura and de Armas, are on screen together, addressing the human cost involved in spycraft, Wasp Network becomes much more interesting. When it veers away from them, the film seems mostly comprised of conversations in restaurants, where new characters and organizations are constantly being introduced.
  90. Early Man
    There’s a mild chuckle every so often in Early Man...but overall the movie collapses in a heap of familiarity and lackadaisicalness. Park is an animation legend, but even the greats occasionally whiff it.
  91. The Lady in the Van
    The film has a killer case of the cutes that only Smith’s acidity can cut, and only so much.
  92. The Call of the Wild
    Slow, emotionless and boasting fairly mediocre production values, this misguided kid movie turns Jack London’s classic tale about the natural world into something barely recognizable as part of that world.
  93. Leave One Day
    The movie seems to be trying to be quirky, but it’s never quirky enough, and it’s hard to feel much for the characters or feel that there’s much in the way of healing going on. But it’s breezy enough to be mildly diverting and gently nostalgic.
  94. Prisoners of the Ghostland
    While the film far outshines most of Cage’s recent efforts (he was direct-to-VOD when direct-to-VOD wasn’t cool) in terms of art direction and fearlessly madcap storytelling, the results are nonetheless muddled and messy.
  95. Bernard and Huey
    Bernard and Huey isn’t particularly funny, although the script does tend to pump out a zinger once in a while. It isn’t particularly tragic, because the plight of these characters is well-earned.
  96. Clifford the Big Red Dog
    While Clifford is definitely cute, the script (screenplay and story are credited to five writers) lacks any depth, relying upon Whitehall to carry and deliver the comedy — so much so that Casey feels simultaneously exaggerated and two-dimensional.
  97. My Best Friend's Exorcism
    Unlike its levitating heroine, it never really gets off the ground.
  98. Deadpool & Wolverine
    Isn’t so much a movie as it is a corporate merger with stabbings and wiener jokes. A shameless piece of self-congratulation, fueled by self-cannibalism.
  99. Rebel Moon Part 1: A Child of Fire
    It is simply what it is, and that is a hugely expensive but uninspired “Star Wars” knockoff with some thrilling action sequences, and some truly ugly moments that taint the entire thing.
  100. Dashcam
    At the end of the day, “DASHCAM” actually doesn’t seem to have much of a point to make. It’s a mean little joke of a horror movie, one where the worst people seem to live longest and endure no consequences, and if that’s what “DASHCAM” has to say about life itself then fair enough, but it’s not presented with cleverness or pointed satire. Savage’s film just keeps digging a hole and somehow it never reaches any depth.
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