For 4,736 reviews, this publication has graded:
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56% higher than the average critic
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2% same as the average critic
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42% lower than the average critic
On average, this publication grades 0.6 points higher than other critics.
(0-100 point scale)
Average Movie review score: 62
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 3,019 out of 4736
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Mixed: 937 out of 4736
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Negative: 780 out of 4736
4,736
movie reviews
- By critic score
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Reviewed by
Jay Carr 100
Stillman has become a master at escalating the laughter by waiting an extra beat and then understating something devastatingly funny, as when someone looks Chris Eigeman's club manager, Des, in the eye and says, "I consider you a person of integrity - except, you know, in the matter of women." -
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Reviewed by
Jay Carr 100
The sly and subtle Minus Man is a wicked little sidewinder of a black comedy. -
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Reviewed by
Jay Carr 100
Roberts and Erin Brockovich have Oscar contender written all over them. -
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Reviewed by
Jay Carr 100
With Carrey hitting a career peak, this Grinch doesn't steal Christmas; it restores the season by helping energize us enough to make it through the whole thing. -
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Reviewed by
Ty Burr 100
Moves like hot mercury, and it draws a viewer so thoroughly into its world that real life can seem thick and dull when the lights come up. -
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Reviewed by
Jay Carr 100
One of the year's most winning performances, Logue's Dex will grow on you as he stumbles toward emotional fullness. -
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Reviewed by
Jay Carr 100
Slly, sublime, buoyant mischief that is virtually without parallel in 20th-century art, much less 20th-century film. -
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Reviewed by
Jay Carr 100
A gorgeous autumnal period piece that catches a vanishing proprietary class on the eve of its extinction in Ireland in 1920. -
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Reviewed by
Jay Carr 100
The story is spun forth ravishingly, tenderly, and urgently, with a captivating mix of beauty, spare sophistication, and profound humanity. -
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Reviewed by
Jay Carr 100
You can count on the fingers of one hand the number of works in any given year to which one is moved to apply the word ''masterpiece.'' Raul Ruiz's Time Regained is one of them. -
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Reviewed by
Jay Carr 100
Terrific French film about that most universal of subjects - work. -
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Reviewed by
Jay Carr 100
Deeper and richer in humanity than all but a handful of the American films released this year. -
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Reviewed by
Ty Burr 100
The one aspect of the original Producers that still stuns is the roaring, over-the-top, in-your-face thereness of its two lead performances. -
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Reviewed by
Jay Carr 100
Simple, but loaded. It celebrates the humanity and humanism at the heart of Iran's remarkable flow of films, but it's also more of a rebuke to materialistic values than any ideologue could ever hope to be. -
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Reviewed by
Jay Carr 100
We're in a golden age of comedy, and one of the reasons is Margaret Cho. -
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Critic Score 100
The impact of this stunning film - and the lessons to be learned from it - are as remarkable as when it was first released 30 years ago. -
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Reviewed by
Jay Carr 100
Few, if any, films this year will approach, let alone equal, Autumn Tale in its subtle sparkle. -
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Reviewed by
Janice Page 100
Lawrence is back on the big screen, and it simply demands to be seen. Yes, again. -
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Reviewed by
Jay Carr 100
Not only exhilarating and cathartic. It's too funny to be ignored. -
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Reviewed by
Jay Carr 100
Satisfying in every respect, it's a piece of blue-collar chamber music, never treating the characters cheaply, allowing them a complex entwinement of emotions. -
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Reviewed by
Jay Carr 100
Quiet, powerful, contemplative, respectful of stillness, Eureka is the first film this year in which there is obvious greatness. -
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Reviewed by
Ty Burr 100
The movie is pricelessly comic -- the Harvey/Joyce scenes catalog the couple's neuroses with glee -- but it just as often reaches for something richer. -
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Reviewed by
Wesley Morris 100
Guy Maddin is a scholar, poet, prankster, and ferociously devoted classicist who likes to resurrect dead cinemas and deader directors and make them vital all over again. -
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Reviewed by
Loren King 100
Butler's approach is subtle: His documentary allows the story to unfold elegantly, without embellishment, and it is more powerful for that restraint. -
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Reviewed by
Ty Burr 100
Implicitly acknowledges and celebrates the glorious chicanery and self-delusion of this most American of businesses, and for that reason it may be the most oddly honest Hollywood document of all. -
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Reviewed by
Wesley Morris 100
Who most of these exquisitely costumed people are I have no idea, but they brush past the camera in such rapids of jubilation it's a wonder they don't knock the thing over. I watched most of the film exhilarated, but depressed that I'm not a big Russophile. -
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Reviewed by
Jay Carr 100
An invigoratingly mordant comedy that proves that Alexander Payne's rambunctious debut, "Citizen Ruth," was no fluke. -
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Reviewed by
Ty Burr 100
The miracle is that 'The Lord of the Rings: The Two Towers is better: tighter, smarter, funnier. -
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Reviewed by
Jay Carr 100
In a crisply restored print, it's as joyous as ever. We loved them - yeah, yeah, yeah. Now we can love them all over again. -
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Reviewed by
Jay Carr 100
A grand, dark, grave, severe piece of first-rate cinema. -
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Reviewed by
Ty Burr 100
A heart-rending account of people trying to dodge the hurdles that politics puts in front of them. By the end of this humanist epic, some are ennobled by their struggle. Most are exhausted. -
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Reviewed by
Ty Burr 100
There are three Poles in The Pianist -- Szpilman, Polanski, and Frederic Chopin. Of the three, fittingly, Chopin speaks the loudest. -
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Reviewed by
Jay Carr 100
"In Cold Blood," "Badlands," "The Executioner's Song," and now, joining those grisly milestones on the heartland hit list, and every bit their equal, is Boys Don't Cry. -
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Reviewed by
Jay Carr 100
Intriguing, arresting, delightfully refusing to be pigeonholed. -
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Reviewed by
Jay Carr 100
Music for the eyes. That's why it has become a treasured classic. That's why we'll see it again and again. -
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Reviewed by
Ty Burr 100
A film noir? A backstage musical? A whodunit? A comedy? In truth, it's all of the above -- plus a kinky love story, an absorbing melodrama, and a mordantly jaded snapshot of postwar Paris -- and all of them are wonderful. -
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Reviewed by
Jay Carr 100
It's terse, atmospheric, fatalistic, with vertiginous camera angles and edits offsetting its gray documentary flatness. -
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Reviewed by
Jay Carr 100
Farnsworth's embodiment of old American values, with their combination of delicacy, reserve, and stand-alone independence, is a one-of-a-kind treasure. -
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Reviewed by
Jay Carr 100
The surehandedly wrought, beautifully acted, almost unbearably tense In the Bedroom is a rare film, not to be missed. -
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Reviewed by
Jay Carr 100
Never has a film taken such relish in between-the-wars malice as Gosford Park. -
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Reviewed by
Jay Carr 100
Bizarre, shadowy, enticingly eerie...more poetic, more tantalizingly original. -
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Reviewed by
Jay Carr 100
First and foremost, Good Will Hunting is a film riding young, exuberant energies. -
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Reviewed by
Wesley Morris 100
The new Abbas Kiarostami film is called Ten, and in it something amazing happens: nothing. -
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Reviewed by
Ty Burr 100
For some of us, this constitutes a religious event. -
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Reviewed by
Ty Burr 100
As the Friedmans split apart like fissile neutrons, their story becomes five stories, none of which is remotely like the others. -
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Reviewed by
Wesley Morris 100
A deep, exhaustive, and moving piece of do-it-yourself detective work. -
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Reviewed by
Jay Carr 100
Not since the original ''Star Wars'' trilogy has film dipped into myth and emerged with the kind of weight and heft seen in Peter Jackson's first installment of J.R.R. Tolkien's Lord of the Rings trilogy. -
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Reviewed by
Jay Carr 100
Nobody ever placed brilliance in the service of silliness quite the way the Python gang did. Monty Python and the Holy Grail is stuffed with both. -
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Reviewed by
Jay Carr 100
Its breadth, profundity, and stunningly rendered vision make idealism seem renewed and breathtaking again. -
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Reviewed by
Jay Carr 100
Spacey is diamond-brilliant in a role that plays as if custom-made for him. -
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Reviewed by
Loren King 100
Riveting tale of family dynamics packed with as much drama, conflict, and poignancy as the best feature film. -
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Reviewed by
Ty Burr 100
At its most unsettling level, Spellbound asks us to consider what words are for and what childhood should be. It's as profound as anything you'll see this year, and, yes, it should have won the Oscar. -
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Reviewed by
Jay Carr 100
But then Being John Malkovich is a brilliant juggling act, too, brilliantly brought off. -
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Reviewed by
Ty Burr 100
Is ''Dr. Strangelove" Kubrick's best movie? Along with ''Paths of Glory," absolutely. -
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Reviewed by
Wesley Morris 100
Like no movie before it, Adaptation risks everything -- its cool, its credibility, its very soul -- to expose the horror of making art for the business of entertainment. -
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Reviewed by
Ty Burr 100
It's a unique trip that flirts with hokeyness at the surface but that grows more compelling, awe-inspiring, and tragic the deeper you go. -
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Reviewed by
Jay Carr 100
It isn't often that lives of quiet desperation are served up with such pearly restraint. -
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Reviewed by
Wesley Morris 100
This is a love letter from one auteur to another that doesn't feel like a term paper. Instead, Far From Heaven is an honest-to-God drama with resonance all its own. -
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Reviewed by
Ty Burr 100
Longer on atmosphere and observation than on story, but you don't mind: Coppola maintains her quietly charged tone with a certainty that would be unbelievable in a second film if you didn't suspect genetics had a hand. -
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Reviewed by
Wesley Morris 100
Nothing momentous happens here, but Philibert has a magical sense of how to find the simple poetry lurking in the universal routine of being a kid. A lot of the film's lyricism is extracurricular. -
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Reviewed by
Wesley Morris 100
The worst thing about the first Quentin Tarantino picture in five years is that after 93 minutes of some of the most luscious violence and spellbinding storytelling you're likely to see this year, Kill Bill ends. -
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Reviewed by
Ty Burr 100
To see Au Hasard Balthazar is to understand the limits of religious literalism in movies -- the limits, even, of movies themselves. Bresson pares everything away until all that's left are the things we do and the hole left by the things we could have done but didn't. -
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Reviewed by
Wesley Morris 100
The atmosphere is hypo-stylized, vividly generic and worse than real, like a doomy Frederick Wiseman documentary. -
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Reviewed by
Ty Burr 100
All you really need to enjoy "Triplets" is a taste for the weird and the wonderful. -
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Reviewed by
Ty Burr 100
So clear-eyed and three-dimensional that it makes the recent ''Pearl Harbor'' look like a bunch of kids playing dress up. Aspects of the film have dated, but in the important things it's more mature than anything proposed lately by modern Hollywood. -
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Reviewed by
Ty Burr 100
Chaplin's sentimental politics and peerless comic invention dovetailed more perfectly in this film than in any other he made. -
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Reviewed by
Ty Burr 100
The Battle of Algiers is a thinking person's action film in which there are winners -- but no heroes. -
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Reviewed by
Wesley Morris 100
This is the first beautiful performance in the year's first great movie. -
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Reviewed by
Ty Burr 100
The film that many consider the finest of its decade, Raging Bull, has aged well, and not just because it was filmed in black and white. -
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Reviewed by
Ty Burr 100
The result is insanely good, and the best time I've had at the movies in ages. -
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Reviewed by
Ty Burr 100
Unfolds with the serenity of a fable but underneath it draws intelligent, deeply troubled connections between the personal, political, and spiritual. -
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Reviewed by
Wesley Morris 100
Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall. -
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Reviewed by
Ty Burr 100
About the search for common ground, among journalists on all sides of the conflict and, through them, between viewers in America and the Arab world. Only within that common ground, Noujaim believes, can something like a workable, personal truth be found. -
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Reviewed by
Ty Burr 100
That rose in the desert, a sequel that improves in every way upon its beloved predecessor and a romance that slowly builds a fire from embers thought dead. -
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Reviewed by
Ty Burr 100
The result is one of the most unforgiving ground-level documentaries about the music business ever made -- the six-string equivalent of "Hoop Dreams." -
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Reviewed by
Ty Burr 100
It's a performance (Giamatti's) so nuanced and so real in its everyday pain that it doesn't stand a chance of winning an Oscar. But it should. -
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Reviewed by
Ty Burr 100
The chance to watch a four-star classic the way it was meant to be seen -- fresh print, big screen -- is so rare as to be worth the trip. -
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Reviewed by
Wesley Morris 100
This is a brilliantly structured hall of mirrors that wraps Catholicism and the movie industry into a tasty film noir. -
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Reviewed by
Ty Burr 100
Days of Being Wild shows Wong discovering his own cinematic language, and he's as astonished as we are. -
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Reviewed by
Ty Burr 100
More than "Unforgiven," more than "Mystic River," it is Clint Eastwood's autumnal masterpiece. -
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Reviewed by
Ty Burr 100
This is the kind of film that reminds you of what movies, at their best, are capable of. -
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Reviewed by
Jay Carr 100
It's all we ask of a film but almost never get, as it first makes us squirm, then makes us cheer. -
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Reviewed by
Wesley Morris 100
Not about crashing into walls or crashing into other people. It's about crashing into yourself and living to tell the tale. -
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Reviewed by
Ty Burr 100
Ghobadi shows us a world where a village pond can hold both rare goldfish and unforgivable evil, and where every step is onto booby-trapped terrain. -
