For 4,174 reviews, this publication has graded:
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64% higher than the average critic
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2% same as the average critic
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34% lower than the average critic
On average, this publication grades 3.8 points higher than other critics.
(0-100 point scale)
Average Movie review score: 65
| 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: 2,794 out of 4174
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Mixed: 804 out of 4174
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Negative: 576 out of 4174
4,174
movie reviews
- By critic score
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Reviewed by
Michael Wilmington 100
A timeless romantic thriller that steeps us in one of those great artificial movie worlds that become more overpowering than reality itself. -
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Reviewed by
Michael Wilmington 100
A wildly original movie with astonishingly varied moods and influences. -
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Reviewed by
Michael Wilmington 100
A movie I loved on first sight and, even more important, love in remembrance. Taken all in all, there's only one last thing to say about it. Go. -
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Reviewed by
Michael Wilmington 100
You can't praise highly enough the contributions of the ensemble--De Niro and Pesci especially--but it's Scorsese's triumph. [22 November 1995, Tempo, p.1] -
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Reviewed by
Gene Siskel 100
One of those rare films that communicates the exquisite joy of the moviemaking process. [7 October 1994, Friday, p.B] -
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Reviewed by
Michael Wilmington 100
A movie about the passions of simple people, and it's done with such extraordinary empathy and commitment that it all but pulls you under. [29 November 1996, Friday, p.A] -
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Reviewed by
Michael Wilmington 100
A landmark movie that becomes a priceless entryway into a distant land and its people, few of whom will ever seem as foreign and far away again. -
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Reviewed by
Gene Siskel 100
This is a sumptuous work, from its unconventional title sequence of a woman dancing hard in the streets to its provocative ending with conflicting quotes from Malcolm X and Martin Luther King Jr .[30 June 1989, Friday, p.A] -
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Reviewed by
Michael Wilmington 100
Masterpiece is the right word for The Sweet Hereafter. It is extraordinary: a poem of familial pain, a song of broken embraces. [25 December 1997, Tempo, p.1] -
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Reviewed by
Michael Wilmington 100
A stunner: a fiercely brilliant film of such wrenching impact, nonstop drive and unpredictability that watching it becomes an exhilarating ride. -
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Reviewed by
Michael Wilmington 100
Some movies can lay claim to being the best thing around in a week, a month, a year. Robert Altman's Short Cuts is closer to being one of the all-time bests, among the finest American films since the advent of sound. [22 Oct 1993] -
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Reviewed by
Michael Wilmington 100
A fierce, brilliant film that breaks (and then mends) your heart. -
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Reviewed by
Michael Wilmington 100
Be forewarned: Dog Days, like many of Seidel's films, will drive some moviegoers to rage and walkouts with its unrelentingly depressing tone. But it also a remarkable, deeply disturbing work by a brilliant filmmaker. -
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Reviewed by
Michael Wilmington 100
Moore's best movie, and one of the most blisteringly effective polemics and documentaries ever. -
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Reviewed by
Michael Wilmington 100
In Jan Campion's The Piano, the emotions are deep, fierce, primordial. Sexuality overwhelms the film's characters like ocean waves blasting against a cliffside. [19 Nov 1993] -
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Reviewed by
Michael Wilmington 100
It still soars, but now it seems richer, more expansive. Amadeus reminds us that movies can be lyrical as well as vulgar, ambitious as well as playful, brilliant as well as down and dirty -- just like Amadeus himself. -
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Reviewed by
Michael Wilmington 100
One of the most beautiful of all recent films on the problems of old age -- and on the interplay of theater and life. -
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Reviewed by
Michael Wilmington 100
Extraordinary film, one that, like the museum itself, captures and shows three centuries of Russian culture and history in all its beauty, confusion, terror and majesty. -
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Reviewed by
Michael Wilmington 100
Moviegoers should be almost as entranced by the teeming, glorious landscapes and dark, bloody battlegrounds of Two Towers: astonishing midpoint of an epic movie fantasy journey for the ages. -
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Reviewed by
Michael Wilmington 100
Re-released now in a digitally enhanced, sonically improved and slightly longer version, the movie is even better than it was in 1973. -
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Reviewed by
Michael Wilmington 100
One of the most excitingly contemporary musicals ever made. -
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Reviewed by
Michael Wilmington 100
A great, velvety, beautiful anachronism. It's a movie almost drunk on romance, literature and cinema, a splendid period picture that keeps rashly breaking rules and boundaries [17 Sept 1993, Friday, p.A] -
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Reviewed by
Dave Kehr 100
Brilliantly funny, bracingly smart and surprisingly moving. [22 June 1988] -
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Reviewed by
Michael Wilmington 100
This is one of those films that encapsulate most of its maker's key thoughts and feelings while also connecting us vividly to a fascinating past. No one who loves French film (or movies in general) should miss it. -
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Reviewed by
Dave Kehr 100
This dark, melancholic film is a reminder -- never more necessary than now -- of what the American cinema is capable of, in the way of expressing a mature, morally complex and challenging view of the world. [7 Aug 1992] -
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Reviewed by
Michael Wilmington 100
In the remarkable, ferociously intelligent new film No Man's Land, Bosnian writer-director Danis Tanovic gives us a movie portrait of the Bosnian War, a conflict that has devastated his country, friends and neighbors -- and found in it both shocking humor and searing, relentless tragedy. -
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Reviewed by
Michael Wilmington 100
It is a movie about the gradual erosion of life's seeming certainties, and it's also about the destructive immorality that may lie beneath the most exquisitely composed veneer. As we watch "Chocolat," this great director and his great actress, Huppert, convince us: Evil is. -
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Reviewed by
Michael Wilmington 100
Leigh is an artist not at all blind to the world's darkness and pain. But the generosity and togetherness he and his company show in Secrets and Lies is something the movies -- and the world -- truly need. [25 October 1996, Friday, p.A] -
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Reviewed by
Michael Wilmington 100
Moves us now because it's so playful and the players are so young - and because later, when Godard tried to play for keeps, in his self-consciously radical films of the late '60s and '70s, he began to lose his game. -
