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For 3,665 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: 2,235 out of 3665
  2. Mixed: 991 out of 3665
  3. Negative: 439 out of 3665
3665 movie reviews
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  1. Graduation
    One of this generation’s most interesting filmmakers still has plenty to say and an impressive dexterity at saying it.
  2. Free Fire
    Free Fire is an ultra-violent, gut-punching spectacle that borders on a slog. It makes you feel guilty even for enjoying minutes of it, and then empty after it’s all done.
  3. Unforgettable
    Framed like a phantom in black shadow and silvery silhouette by legendary cinematographer Caleb Deschanel (“The Right Stuff”), Heigl slices through this silly little universe, consumed with her mission, bigger than all of it.
  4. The Promise
    There’s simply no time for the impact of anything that happens to get its reflective due, because the movie is too busy reverting to the up-and-down status of Michael’s and Ana’s increasingly inconsequential relationship while lining up its next large-scale set piece.
  5. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    As involving as the story is with its impressive ensemble cast, “Norman” is above all a showcase for Gere’s substantial talents.
  6. Little Boxes
    Little Boxes has good intentions if not the subtlest delivery.
  7. My Entire High School Sinking Into the Sea
    Layered images, un-erased pencil strokes, odd color blocking, jagged edges, heavy lines, painted frames with visible brush strokes, juxtapositions of marker, crayon, and charcoal, collage techniques, photographic effects, a set of psychedelic human lungs: this is is low-budget ambition firing on all cylinders.
  8. A Quiet Passion
    The degree of difficulty here is steep, and Davies has not been entirely successful in making Dickinson’s milieu come to full and convincing life.
  9. Born in China
    Born in China” doesn’t flip the script in any significant way, but while the storytelling here has significant weaknesses, it’s hard to stay mad at any movie that offers so many close-ups of an insanely adorable baby panda.
  10. The Fate of the Furious
    There is only one inventive action sequence here.
  11. Going in Style
    The clichéd story wouldn’t even be an issue if the movie were enjoyable. But little works as humor or suspense or sentiment once the job is on.
  12. Colossal
    Hathaway makes Gloria feel familiar and unique all at once. The same can be said of Colossal itself, which lives up to its title without losing sight of small-scale human drama.
  13. Their Finest
    Their Finest delivers in a way that would please the Ministry of Information: it’s rousing and emotional, there are laughs and tears, and it portrays people trying and, mostly, succeeding at being their best selves in the service of their country.
  14. The Assignment
    The Assignment is reprehensible, yes, but it’s also dull and inept. Fans of Walter Hill should treat his latest effort like the kind of car crash from which it’s best to avert one’s eyes.
  15. Gifted
    Gifted finds a collective of competent people making a perfectly competent movie — nothing more, nothing less.
  16. Ghost in the Shell
    Ghost in the Shall is a technical knockout, a here-and-now valentine to what design wizardry Hollywood can pull off in 2017. At the same time, it does so in service of a tired tale full of repurposed visual tricks, storytelling clichés and big-studio concessions.
  17. Smurfs: The Lost Village
    Lots of little lessons are interspersed throughout Smurfs: The Lost Village, but the film itself is an example that even the big, powerful, well-paid grown-ups who run movie studios can learn a thing or two.
  18. Wilson
    Brought to life on screen, Wilson is a fractured, heartsick, funny adventure in mundane misery.
  19. Life
    Life never reaches greatness, but it’s solidly good, from its earned scares to a spot-on ending. (Don’t let anyone ruin it for you.) The film’s tight spaces and layered audio will work best on the big screen; see it with someone whose wrist you can grab.
  20. CHIPS
    The humor is way more miss than hit, prone to the kind of raunch (analingus debates, homophobia teasing, who’s-hot-who’s-not) that feels available, not thought-out, and pain gags that don’t get funnier the more they’re repeated.
  21. The Zookeeper's Wife
    The Żabińskis were as unfailingly heroic as it gets, but memorably rendering a resistance shouldn’t be so resistant itself to the rough-and-tumble humanity of the details, and the unsentimental doom that shrouded it all.
  22. Saban's Power Rangers
    Power Rangers is baloney through and through, but as baloney goes, it’s better than you might expect. It packs enough zing to make you forgive the origin-story clichés. And the predictable save-the-world stuff. And the insanely ubiquitous product placement.
  23. After the Storm
    Talk of accepting truths and moving on will knot your stomach; inevitably, you’ll reflect on your own station in life and weigh whether or not you feel like Ryota, who tells his son, “I’m not who I want to be yet.” And isn’t such evocation the point of all art? With this measure in mind, Kore-eda has created a masterpiece.
  24. Mean Dreams
    Though the strong performances of Nélisse and Wiggins are key to convince you that they not only care for each other but are capable of thinking on their feet, it’s Paxton who must deliver sufficient menace to propel the story — and he’s terrifying.
  25. Song to Song
    Song to Song is that most fascinating of busts: it spurs many feelings, but they’re sentiments like real estate envy, Austin yearning (if you’ve ever been), Lubezki admiration, and pity for A-listers who can’t improvise.
  26. The Most Hated Woman in America
    The Most Hated Woman in America is ultimately a simplistic approach to a fascinating figure, more Lifetime than a woman’s life and times.
  27. Gemini
    Gemini strives to be something different — something more ambitious, more potent. The results vary, as will your mileage. But the thing to remember about swinging and missing is that you still swung. Katz is putting himself in the game, and more often than not, he connects
  28. The Belko Experiment
    The meager tension generated by characters discovering their survival instincts, and why you might not want to be next to them when they do, is quickly dissipated by the realization that, at a certain point, the movie is an assembly line of killing, and not a terribly exciting or entertaining one at that.
  29. The Disaster Artist
    Aside from the undercurrent of pathos, it’s James Franco’s impeccable comedic timing that is the film’s ace in the hole.
  30. Baby Driver
    Rarely do we see a filmmaker start so strong only to end with a whimper. All in all, though, Baby Driver is still worth seeking out, if only for that first hour. Inside those opening 60 minutes is the best action-comedy of the last ten years — full stop — featuring a breathtaking amalgamation of rip-roaring combat, a star-making performance by Ansel Elgort, and a string of clever bits.
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