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
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Reviewed by
Michael Phillips 88
The acting's so true, and Bahrani's so observant, you find yourself caring about everyone onscreen. -
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Reviewed by
Michael Phillips 88
The Artist may not be great art, but it's pearly entertainment.- Posted Dec 22, 2011
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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
Gene Siskel 100
All of the performances are first-rate; Pesci stands out, though, with his seemingly unscripted manner. GoodFellas is easily one of the year's best films. [21 September 1990, Friday, p.C] -
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Reviewed by
Mark Caro 75
Always engaging, never boring. You constantly appreciate Kaufman's intelligence and Gondry's lively filmmaking. -
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Reviewed by
Michael Wilmington 88
German emigre Dupont directs all this with the style, flair and tension he brought to his 1925 Emil Jannings classic, "Variety." But it is Wong, shimmering with charisma, who gives Piccadilly its unforgettable center. -
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Reviewed by
Michael Phillips 100
The word masterpiece costs nothing to write and means less than nothing in an age when every third picture and each new Clint Eastwood project is proclaimed as such. After two viewings, however, Letters From Iwo Jima strikes me as the peak achievement in Eastwood's hallowed career. -
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Reviewed by
Michael Phillips 100
It's a very small piece, working in a deceptively casual storytelling style. But it's my favorite music film since "Stop Making Sense," and it's more emotionally satisfying than any of the Broadway-to-Hollywood adaptations made in the last 20 years. -
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Reviewed by
Michael Wilmington 100
The greatest rock concert movie ever made -- and maybe the best rock movie, period. -
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Reviewed by
Michael Wilmington 75
What I did like unreservedly was the acting. Enid, as enacted by the sometimes astonishing Birch, is one of the more convincing, no-nonsense teens in recent movies. -
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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
Michael Phillips 88
The filmmaker's documentary training pays off in detail after detail. -
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Reviewed by
Michael Wilmington 100
Blends a love of semi-trashy pop entertainment with a love of poetry, art and high moral seriousness. It's a young person's movie (Godard was 34 and Karina 24 in 1964) that retains its mysterious pull even as the film and we get older. -
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Reviewed by
Michael Wilmington 100
One of the most remarkable and moving love stories the movies have recently given us. -
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Reviewed by
Michael Phillips 88
Mafioso is shaped like a comedy, and it is one, but its intentionally jarring clashes of tone and rhythm are truly out there. -
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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 Phillips 88
Matt Damon narrates, and I do wish the narration didn't end on such a generalized, throw-the-bums-out note, over footage of the Statue of Liberty. -
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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 88
A bizarre, thrilling, warmly funny spoof of the WWII Steve McQueen prison camp thriller, "The Great Escape" remade for a near all-chicken cast. -
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Critic Score 100
Most important, several elements -- the film's tough, new ending; a sly, fleeting dissolve of a unicorn, not in the original; and a brilliant, trompe d'oeil flicker of life in a shot of a still photograph -- bring Deckard's existential dilemma into focus. [11 Sept 1992] -
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Reviewed by
Robert K. Elder 88
With 20 additional minutes of screen time, the director's cut of Richard Kelly's genre-splicing "Donnie Darko" offers new viewers a second chance to discover his mind-bending masterwork. -
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Reviewed by
Michael Phillips 88
The actors, predictably, are superb in roles shaped by screenwriter David Seidler, and directed by Tom Hooper. Yet they are unpredictably superb as well.- Posted Dec 17, 2010
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Reviewed by
Michael Phillips 100
Some of the comic inventions are inspired: Muntz has a pack of dogs equipped with electronic voice boxes, which means they're talking dogs, only they speak as if they've learned English from a poorly translated Berlitz guide. -
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Reviewed by
Mark Caro 100
Raunchy, smart, ebullient, melancholy, insightful, surprising, funny, frank and sexy as all get-out. -
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Critic Score 100
You can't ask for a family film to do more than Toy Story 2. It's smart and playful enough to entertain adults, yet it never aims above the heads of kids. -
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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 Phillips 88
Like all the Dardenne s' films, L'Enfant embraces a peculiarly ascetic brand of what, in other filmmakers' hands, might seem like cheap melodrama. -
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Critic Score 100
Armstrong and screenwriter Robin Swicord have pared the work's sentimentality and bolstered its intellectual content, [21 Dec 1994] -
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Reviewed by
Michael Wilmington 100
Some scholars may scowl, some lowbrows may scoff. But, like wordwise Will, these filmmakers know how to win a crowd -- from the queen down to the groundlings, from the sky above to the stage below. Bravo! [5 December 1998, Friday, p.A] -
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Reviewed by
Michael Phillips 100
The characters in Gomorrah may lack an extra dramatic dimension: Garrone errs, if anything, on the side of detachment. Yet that detachment is also the key to the film's success. There's so little hooey and melodramatic head-banging here. -
