For 17,825 reviews, this publication has graded:
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52% higher than the average critic
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4% same as the average critic
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44% lower than the average critic
On average, this publication grades 2.3 points lower than other critics.
(0-100 point scale)
Average Movie review score: 63
| Highest review score: | IMAX: Hubble 3D | |
|---|---|---|
| Lowest review score: | Divorce: The Musical |
Score distribution:
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Positive: 9,159 out of 17825
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Mixed: 7,029 out of 17825
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Negative: 1,637 out of 17825
17825
movie
reviews
- By Date
- By Critic Score
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Reviewed by
David Rooney
Writer-director Douglas McGrath's boldest stroke is to impose a more overtly gay interpretation on a central relationship in which the attraction was generally supposed to be unspoken.- Variety
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Joe Leydon
Blessed with abundant production values and a minimum of campy excess, One Night With the King is a surprisingly satisfying attempt to revive the Old Hollywood tradition of lavishly appointed Biblical epics aimed at mainstream auds.- Variety
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Ronnie Scheib
PBS-bound docu constitutes a revealing look at a poorly understood chapter in American history.- Variety
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Ronnie Scheib
A rogues gallery of flamboyant gangsters paint an anecdote-rich portrait of the drug trade, while a steady stream of cops, coroners and crime reporters furnish social commentary.- Variety
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Jonathan Holland
Showing a stylistic bravura and confidence rare among upcoming Spanish helmers, Ramon Salazar's campy 20 Centimeters is a self-regarding but vastly entertaining sophomore effort that fuses a wide range of influences -- Hollywood musicals, neo-realism and early-Almodovarian kitsch -- into a distinctive, giddy whole.- Variety
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Eddie Cockrell
A surprisingly conventional portrait of a decidedly unconventional man.- Variety
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Dennis Harvey
Compelling result is handled with enough dignified artistry to quell most fears of exploitation.- Variety
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- Variety
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Reviewed by
Todd McCarthy
Sometimes becomes too self-consciously clever, and it doesn't entirely resolve its own central dilemma. But it remains inventive and funny to the end, features fine performances from Will Ferrell and especially Emma Thompson.- Variety
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- Variety
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John Anderson
The offensive word that provides the title for Steven Anderson's penetrating documentary/social critique has either enriched or infected Western culture to the point that we're either drowning in a "floodtide of filth" or blessed with the best verbal relief valve ever devised by man.- Variety
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Todd McCarthy
Richard Linklater's rough-hewn tapestry of assorted lives that feed off of and into the American meat industry is both rangy and mangy; it remains appealing for its subversive motives and revelations even as one wishes its knife would have been sharper.- Variety
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Leslie Felperin
Impresses as a visually exquisite, rigorously intellectual but dauntingly obscurantist fable about automatons, opera singers and herniated desire that will appeal exclusively to arthouse auds with rarefied tastes.- Variety
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Deborah Young
Emilio Estevez's Bobby is a passionate outcry for peace and justice in America that becomes deeply involving by the final climactic scene.- Variety
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- Variety
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Reviewed by
Robert Koehler
Ingmar Bergman lays his soul on the line in Marie Nyreroed's gentle, intimate and thorough documentay.- Variety
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Jay Weissberg
Committed performances and strong widescreen lensing carry the message with a righteous, if heavy weight.- Variety
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Justin Chang
Anchored by a terrific performance from Nick Nolte as a grizzled umpire who gets an unexpected second chance at fatherhood, this easygoing comedy-drama plays out slowly but assuredly, infusing a conventional story about a blossoming relationship with welcome reserves of honesty and humor.- Variety
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Todd McCarthy
Genuinely funny, randy and moving by turns, breezily enjoyable throughout.- Variety
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Jonathan Holland
Sarah Polley gives a wonderfully searching performance, as a woman in a state of extreme isolation, in The Secret Life of Words, a compellingly claustrophobic drama set mostly aboard an oil rig.- Variety
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Robert Koehler
More ambitious than her 2002 debut, "Blue Car," Moncrieff's new film maintains her focus on women, expanding to include a range of ages, circumstances and psychologies. Picture's drama, however, is deliberately fractured into a quintet of stories that vary considerably in their overall impact.- Variety
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John Anderson
It takes the bold approach of being earnest, honest and unafraid to be called naive. As a result, it's extremely affecting.- Variety
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Robert Koehler
Continually tickles the mind while leaving a heavy lump in the chest, establishing and sustaining a unique low-key tone of mystery and dread.- Variety
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John Anderson
Although shot over a longer period of time than "Lost Boys," God Grew Tired is a softer, less complex version of essentially the same story, far less troubling in its explorations and implications than "The Lost Boys," but with far greater commercial potential.- Variety
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Robert Koehler
A vital if less than objective slice of film journalism on the U.S.'s troubled history in the Third World.- Variety
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- Variety
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Reviewed by
Deborah Young
Audiences hooked on Persian mainstream will devour this irreverent romantic comedy, spiced with saucy dialogue that spoofs traditional gender roles through gritted teeth.- Variety
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Robert Koehler
Building his dry comedy out of a basic confusion of names, an Army recruitment slip and one man's curiosity, Jacobs creates a droll, meandering and defiantly uncommercial film.- Variety
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- Variety
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Reviewed by
Dennis Harvey
A basically admiring if critical portrait, documentary by Henriette Mantel and Stephen Skrovan (strangely, both standup comics and TV comedy writer-producers) finds more than enough absorbing material to hold interest through nearly three-hour runtime.- Variety
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