Film.com's Scores

  • Movies
For 1,430 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Almost Famous
Lowest review score: 0 A Haunted House
Score distribution:
1,430 movie reviews
  1. Park allows this macabre coming-of-age tale to be defined by mood and style above all else.
  2. LUV
    LUV is partly a story about drugs, guns and street crime, the legacies we pass on to our children despite our efforts to do otherwise. But it’s also about the things we pass on to our children with love: How to tie a necktie, hold a steering wheel, shake another person’s hand. And it’s about the hope that those things will win out in the end.
  3. If Broken City – the first film to be directed solo by Allen Hughes, one-half of the Hughes Brothers directing team – is a little flawed and cracked itself, it still squeaks by as a reasonably thoughtful piece of big-screen entertainment.
  4. It does a marvelous job at giving us an impressionistic taste of horrific circumstances without using them to beat us into submission.
  5. A Place at the Table is a fairly no-frills effort, but the ideas behind it are sound.
    • 76 Metascore
    • 83 Critic Score
    With a jaunty musical score by Alexandre Desplat and a pleasant visual style aided by Marco Onorato’s colorful cinematography, Garrone delivers a story that’s part fairy tale, part religious allegory and part scathing indictment.
  6. A true New York City movie, alive every minute. There’s some Woody Allen in its veins, but it’s driven more by the free-for-all spirit you find in pictures like Peter Sollett’s 2002 “Raising Victor Vargas” and Spike Lee’s 1986 “She’s Gotta Have It.”
  7. Downey, Jr. remains a rightfully cherished smartass figure, having as much a ball with Black’s one-liners as he had in “KKBB,” and he sells Tony’s newfound post-traumatic vulnerability more credibly than the film does.
  8. From a distance The Spectacular Now is mere soap opera, but it is one of those films that grow more fascinating upon inspection.
  9. Under the Skin is a deliberately oblique piece of work that prizes rhythms and textures above hows and whys.
  10. While the final act might not surprise or stun, it does feature some classic le Carre movements, some trademark Corbijn ease, and a terrifying Hoffman bellowing at the sky – not so bad for just another spy film.
    • 82 Metascore
    • 83 Critic Score
    Just plain funny, loaded with joke after joke and pun after pun.
  11. In a film about how hard it is to know what you want, and then to express it, Swanberg gets to the heart of the matters of the heart with disarming doses of both charm and wisdom.
  12. Denis Villeneuve’s Enemy might have the scariest ending of any film ever made.
    • 67 Metascore
    • 82 Critic Score
    Superbly written, handsomely made and full of terrific performances, Laggies is Shelton’s best film to date.
    • 88 Metascore
    • 82 Critic Score
    Anderson has abandoned a bit of his whimsical nature for the later portions of the film, but the film’s first half hour presents one of his most darling settings yet, until, of course, it all crumbles into murder, mayhem and bad renovations.
    • 61 Metascore
    • 82 Critic Score
    It’s clean, lean and smart.
  13. A potent encapsulation of how fame and finance beget fear and grief.
  14. The Visitor might be a hot mess, the byproduct of tailspinning egos and the best drugs movie money could buy in the late 70s, but it certainly isn’t an accident.
  15. It is amazing, given the modesty of its scope and means, how much Manakamana is able to achieve.
  16. Puts the Bond film series (this one makes number 19)-- back on track by stressing the fundamentals and applying a bit of authentic drama for a change.
  17. All of it is vital and involving, and some of it is hilarious...I've rarely seen a group of people in a darkened theater react as viscerally as they do to Reservoir Dogs.
  18. Don't let Croupier go by without a look.
  19. The most faithful cinematic depiction of adolescence in recent memory.
  20. A tiny slice of bleak, black near-perfection.
  21. Lots of laughs, lots of fisticuffs, lots of cool toys, lots of stuff getting blown up: Who could ask for anything more from a summer movie?
  22. Ferociously inventive.
  23. It plays lots of cool mind games with the audience -- if in an occasionally incoherent way -- and ends up providing a surprising amount of fun.
  24. Horror presented without restraint or apology, as a full-bore, blood-soaked load of nomad nastiness caught in constant forward motion.
  25. Held together by strong writing, insightful direction, and a stunning turn by newcomer Rodriguez, who is not only a gorgeous young woman but a fiercely charismatic screen presence.

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