USA Today's Scores

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For 4,671 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Fruitvale Station
Lowest review score: 0 Amos & Andrew
Score distribution:
  1. Positive: 2,964 out of 4671
  2. Mixed: 1,021 out of 4671
  3. Negative: 686 out of 4671
4671 movie reviews
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  1. Strange World
    An enjoyable piece of vibrant world building that steps away from the musical bent of recent non-Pixar efforts like “Encanto” and the “Frozen” flicks.
  2. Dan in Real Life
    Dan in Real Life takes a pleasant premise and calls upon the talents of engaging actors and generally squanders both.
  3. Get Him to the Greek
    The concept is inspired, and the movie has some very funny moments. But about halfway through this long weekend, the frantic tale grows flimsy.
  4. The Powerpuff Girls
    Isn't much, it's just lively enough to placate its limited audience to make it an easy choice over "Scooby-Doo's" stale Alpo.
  5. Cadillac Records
    The film features too little about Berry (an engaging Mos Def), who crosses over to great fame.
  6. Ali
    Ali is no disgrace, but it's not much of a performer, especially considering that it is one of the few hyped year-end releases that coulda been a contender.
  7. Crooklyn
    Both leads and young Harris make Crooklyn an exasperating might-have-been, especially given the movie's surprisingly affecting wrap-up. There's no dearth of human feeling here, but a dearth of craft. [13 May 1994, p.8D]
    • USA Today
  8. Clerks II
    It's the crude humor that trips up the movie.
  9. Coco Before Chanel
    Not an expansive biopic but a fascinating snapshot of a pivotal chapter for Chanel, her formative fashionista years.
  10. Seven
    Director David Fincher shovels on more gloom than even the serial killer genre can sustain in the murkily moody, but self-defeating, Seven.
  11. Sleepy Hollow
    This is a very bloody fantasy (reds do eke their way into the black-and-blues), but it's hard to think of another film with as many severed heads whose overall tone is so sweet.
  12. Darkman
    Cult director Sam Raimi has come a long way since giving us killer tree limbs in whichever (I've repressed it) Evil Dead pic had them. With good leads and a few bucks, he's come up with a high-octane revenge piece mentionable in the same breath as its predecessors. [24 Aug. 1990]
    • USA Today
  13. Oliver Twist
    The big surprise in Polanski's Oliver is the lack of a discernible personal stamp, especially from such a directorial master of the macabre.
  14. Soapdish
    Soapdish is forever blowing comic bubbles. Most burst in mid-flight. But a few, thanks to the talents of stars Sally Field and Kevin Kline, work up into a laughable lather. [31 May 1991, p.4D]
    • USA Today
      • Posted Jun 28, 2017
  15. Just Another Girl on the I.R.T.
    Just Another Girl on the I.R.T. is half-a-good movie, three-quarters of a good debut, and an even better showcase for its live-wire lead performer. Even so, a protracted, then pat, wrap-up saps much of the goodwill reflected by these promising components. [23 Mar 1993, p.10D]
    • USA Today
  16. Hanna
    One of the coldest action films in years and an odd showcase for Saoirse Ronan, a deft actress who is one of the few youngsters capable of pulling off action with acting.
  17. Pacific Rim
    The story's appeal is lost in all the fights between the monsters and robots.
  18. The Smashing Machine
    Not all the swings land in “The Smashing Machine.” Which is fine, given how hard Johnson hits (and gets hit) with this fascinating shift in his acting. Going to the mat here with the role of his life – so far at least – shows a performer whose true potential we're just now finally seeing.
  19. We Were Soldiers
    This also is the rare combat movie that deals substantially with mourning widows on the home front.
  20. L'Auberge Espagnole
    It energetically captures the frenzied pace of contemporary existence, the complexities of life in a multicultural world, the rootless joys of living in a foreign city and the heady world of possibilities one envisions while in college.
  21. Harry Potter and the Deathly Hallows: Part I
    Menacing and meditative, Hallows is arguably the best installment of the planned eight-film franchise, though audiences who haven't kept up with previous chapters will be hopelessly lost.
  22. GoldenEye
    The musical score is a dud, and the film is one firebomb too long. But GoldenEye's vision is 20/20 when it comes to reviving a legend. [17Nov1995 Pg.01.D]
    • USA Today
  23. The Fantastic Four: First Steps
    After two mediocre 2000s film featuring Marvel’s legendary superhero family, and an atrocious third outing in 2015, the foursome makes its Marvel Cinematic Universe debut in a combo sci-fi/disaster flick full of retrofuturistic 1960s flavor.
  24. Mississippi Burning
    A powerful drama about the murder of three civil-rights workers in the South. Gene Hackman and Willem Dafoe are FBI men investigating. A legitimate Oscar contender. [6 Jan 1989, p.5D]
    • USA Today
  25. Comic-Con Episode IV: A Fan's Hope
    What's missing in Morgan Spurlock's latest documentary is a key ingredient: Morgan Spurlock.
  26. The Way
    Unafraid of stillness and scenes of quiet contemplation, the film also celebrates companionship and community, which are all good reasons to embrace the experience along The Way.
  27. Dr T and the Women
    The movie's pleasures extend even to the visuals, which are more lustrous than in any other Altman movie.
  28. Napoleon Dynamite
    There isn't much Napoleonic grandeur in this Idaho-set high school comedy, which in spite of its most condescending instincts, does have its moments.
  29. Sky Captain and the World of Tomorrow
    Worse, the story is so thin and clichéd, it seems as if a computer wrote the screenplay and a robot directed it.
  30. Marie Antoinette
    With its ho-hum performances, muddled point of view, inert plot and pedestrian writing, all that's left to appreciate are the sumptuous costumes, elaborate hairstyles and rococo production design, which are not enough to sustain any movie, even one set in the gilded splendor of Versailles.
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