For 4,198 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: 2,814 out of 4198
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Mixed: 807 out of 4198
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Negative: 577 out of 4198
4,198
movie reviews
- By critic score
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Reviewed by
Michael Wilmington 100
Sumptuously exciting, glowing with expertise, seething with life, gorgeously designed and thrillingly articulated. -
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Reviewed by
Michael Wilmington 100
Achieves a mellowness and melancholy that recalls the jazzy dissonance of director (and here, composer) Eastwood's best work: "The Outlaw Josey Wales," "Bird," "Unforgiven" and "Mystic River." -
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Reviewed by
Michael Wilmington 100
A masterpiece that can still leave you dizzy with wonder. As much as any movie ever made, this visionary science-fiction tale of space travel and first contact with extraterrestrial life is a spellbinding experience. -
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Reviewed by
Michael Wilmington 100
Beautifully remastered and containing Cocteau's long-unseen special prologue and credits -- is as much a feat of feverish delight as it was in the dark days of Vichy and WWII. -
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Reviewed by
Michael Wilmington 100
It's a nail-biter and knuckle whitener of the first rank: a super real life techno thriller that reduces the fantasies of Tom Clancy and his clones to ground zero. -
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Reviewed by
Michael Wilmington 100
Nobody Knows, by the often excellent Japanese filmmaker Hirokazu Kore-eda, is one of those special movies that can give us a new way of seeing. -
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Reviewed by
Michael Wilmington 100
One of the quintessential '60s foreign art films, a bizarre melange of pop music, revolution, sex, movie allusions and poetry. It's a masterpiece of sorts by one of the most important European filmmakers of that era. But it's also a movie that can drive you crazy. -
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Reviewed by
Michael Wilmington 100
Downfall, whatever its shortcomings, bears strong witness to great evil. That is its triumph as a film. -
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Reviewed by
Michael Wilmington 100
A major cinema event of the year, a masterpiece of Italian film traditions in social/political realism and historical family epic. -
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Reviewed by
Michael Wilmington 100
The movie holds up far better than its detractors guessed - splendidly, in fact - not only thanks to Scott's spellbinding acting, but to the epic imagery, Coppola's (and Edmund North's) highly intelligent script and Schaffner's lucid, perfectly controlled direction. -
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Reviewed by
Michael Wilmington 100
It's a movie of such jaw-dropping violence, wild improbability and dazzling style it overpowers all resistance. -
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Reviewed by
Michael Wilmington 100
All the "Star Wars" movies will continue to entertain us for many years to come. They were grand fun, and this last one's a corker. -
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Reviewed by
Michael Wilmington 100
Perfect for anyone with a youthful heart and a rich imagination. -
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Reviewed by
Michael Wilmington 100
Romero's newest is a horror movie for hard-core fans of the gory and the gruesome and a classic genre film for genre aficionados. -
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Reviewed by
Michael Wilmington 100
With rich irony, The World juxtaposes the teasing, grand images of the outside world's wonders with the insular community and the mundane lives of the park employees. -
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Reviewed by
Michael Wilmington 100
If it's not an actual masterpiece, it's at least the next best thing, a fully characteristic, fully alive work by a master of his art. -
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Reviewed by
Michael Wilmington 100
A peach of a story delightfully imagined by Dahl and lushly realized by Burton. It's full of witty or awesome scenes, flights of fancy and characters either totally, lovably sweet or outrageously, humorously rotten. -
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Reviewed by
Michael Phillips 100
The movie's excellence, a stylistic world apart from the strikingly photographed but rather hysterical 1967 film version of Capote's masterwork, is in capturing its subject without pinning him down. -
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Reviewed by
Allison Benedikt 100
Steering clear of phony melodrama and indie pretense, Baumbach captures a crisis in one family's life that, though it shakes the foundation, leaves all four Berkmans drifting toward highs and lows unknown, each of them only dimly aware that, no matter what the movies tell us, we never really come of age. -
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Critic Score 100
May not be the greatest dance documentary ever made, but it could well be the most accessible and touching. -
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Reviewed by
Michael Wilmington 100
Still packs a wallop. It's also a movie with no easy passage to its dark heart. -
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Reviewed by
Michael Wilmington 100
In this movie, Auteuil ("Jean de Florette") and Binoche ("Chocolat") are such marvelous actors, they can shift us in almost any emotional direction with a speech or a glance. -
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Reviewed by
Michael Wilmington 100
Of all the movies that try to take us into the mind and viewpoint of a child, Carol Reed's 1948 The Fallen Idol, adapted by Graham Greene from his short story, is one of the most ingenious. -
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Reviewed by
Michael Wilmington 100
Days of Heaven is the grand climax of the whole "Bonnie and Clyde"-"Badlands" tradition of outlaw-lovers-on-the-run movies. Shot by Nestor Almendros and the uncredited Haskell Wexler, it's a cinematographic masterpiece. [20 March 1998] -
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Reviewed by
Michael Phillips 100
The superb United 93, from the British writer-director Paul Greengrass, does not waste time defining the undefinable. Nor does it strain for poetry when, with this story, prose is enough. -
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Reviewed by
Michael Phillips 100
It is a black comedy, among the blackest. It is also more grueling in some stretches than anything in "United 93." -
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Reviewed by
Michael Wilmington 100
Three Times is great cinema, pop romance that carries a special charge. -
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Reviewed by
Michael Wilmington 100
A film masterpiece, restored more than three decades after its French release, "Army" remains a superb, coolly accurate portrait of a living hell recalled by two men who knew it well and record it truly, Melville and novelist Joseph Kessel. -
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Reviewed by
Michael Wilmington 100
If all this potent drama recalls Bergman, the beautifully articulated staging and setting suggest that master of operatic social-sexual drama, Luchino Visconti ("The Leopard"). -
