USA Today's Scores

  • Movies
  • TV
For 4,670 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 point 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:
4670 movie reviews
  1. Self-indulgent, heavy-handed and lumbering, Jayne Mansfield's Car is not a wreck, but it's certainly a vehicle for boredom.
  2. Not only is this a deftly crafted and superbly acted film, but Wadjda sheds a powerful light on what women face, starting in childhood, in an oppressive regime.
  3. The Family is a fish-out-of-water/buddy comedy/Mob flick. But most of all, it's a missed opportunity.
  4. Hell Baby is what happens when you try to parody a parody. The result is a film that's less than half as funny as its predecessor, and a sliver as clever as the original.
  5. Populaire takes an intrinsically boring activity — typing — and makes it unusually entertaining.
  6. Insightful gems are unearthed throughout the flawed but engrossing Salinger,a much-anticipated documentary about the author of The Catcher in the Rye.
  7. Move along, there's nothing to see and no one to root for in this murky franchise reboot.
  8. Winnie Mandela is a simplistic look at a complex figure.
  9. It's misleading to call this a documentary — fan fodder is more like it.
  10. A clever, likable comedy that sends up sexism, satirizes Hollywood, examines family ties and features a surprisingly tender romance at its core.
  11. It's a meandering film that prompts the viewer to anticipate characters' actions. Fortunately, they don't take predictable paths.
  12. A car-chase clunker that can't escape its own noxious emissions.
  13. Not only an intelligent, well-told and deftly acted story, it provides refreshing counter-programming in a season filled with noisy, uninspired sequels and mindless action movies.
  14. It's no "Taxi Driver" or even "Open Water," but Route has enough attractions to warrant the trip.
  15. An historical opus that is equal parts ballet and biography, though the second component pales in comparison with the first.
  16. A film of repetition, a bloody dance consisting of three steps: stab, scream, repeat.
  17. The premise of visiting so many pubs as a narrative device, however, bogs down the initially energetic pacing and goofiness. Piling on the mayhem renders The World's End a sometimes chaotic and uneven comedy.
  18. Though it has flashes of promise, Bones traces the footsteps of its fantasy film predecessors too closely to blaze anything close to an original narrative.
  19. Authentic emotion competes with manufactured sentiment for the heart of Lee Daniels' The Butler.
  20. Kick-Ass is a prime example of a movie that never should have bothered with a sequel. Not only is its successor played-out, but it revels in carnage while lacking the visual style and gleeful humor of the original.
  21. One thing it doesn't do is offer a revealing look at the mercurial entrepreneur. The movie that bears his name settles on a blandly superficial treatment of a deeply complex man.
  22. It plays more like a "21 Jump Street," full of pretty people and a thumping soundtrack but offering little in the way of something to say.
  23. A humorous chick flick for well-read audiences, Austenland is a novel concept.
  24. Lovelace is a lackluster, skin-deep biopic.
  25. The Canyons is billed as an erotic thriller, but the sexcapades of these empty-headed twentysomethings are far more likely to elicit yawns than titillation.
  26. Essentially Cars in midair.
  27. This sweetly eccentric and low-key buddy picture/bromance bears little resemblance to more well-known examples of the genre, such as "Lethal Weapon" or "Pineapple Express."
  28. Decidedly more thought-provoking than most big-studio summer fare.
  29. We're the Millers is a twisted road trip worth avoiding. Not only is it not funny, it's offensive.
  30. Nathan Fillion is the movie's brightest spot as Hermes, re-envisioned as a UPS manager. He makes a quip about how the best TV series always get canceled, in a nod to Firefly, the iconic sci-fi show in which he starred.

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