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For 377 reviews, this publication has graded:
  • 78% higher than the average critic
  • 2% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 14.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score:
The Soft Skin (1969)
Critic Score 100
Lowest review score:
The Devil's Double
Critic Score 25
Score distribution:
  1. Positive: 322 out of 377
  2. Mixed: 47 out of 377
  3. Negative: 8 out of 377
377 movie reviews
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  1. The Ward
    The Ward succeeds mainly as a checklist that keeps it consistent with Carpenter's nearly forty years of work. It has none of the smart genre appeal that put him on the map, instead resembling a desperate knock-off by someone with far less talent. Carpenter either lost his groove or the will to use it.
  2. Extremely Loud and Incredibly Close
    If "Extremely Loud" came out in the weeks or months following 9/11, more audiences (and critics) might find an excuse to appreciate the way its soul-searching protagonist works through his grief. Ten years later, his struggle actually feels outrageously old-fashioned.
  3. The Paperboy
    Lee Daniels' The Paperboy is a rare case of serious commitment to outright silliness.
  4. The Details
    It's a familiar mold: the perils of suburban discontent have been so thoroughly explored that The Details plays like a hodgepodge of familiar circumstances on an assembly line to disaster.
  5. This Must Be the Place
    Guided by an over-the-top Nazi hunter played by Judd Hirsch (clearly enjoying himself), Cheyenne begins a road trip through Middle American that goes nowhere, and Penn's mopey has-been routine starts to feel like a bad joke that just keeps getting worse.
  6. The Devil's Double
    It's hard to believe that The Devil's Double doesn't intend to be a put-on. Despite a real-life basis of its plot, Lee Tamahori's fierce depiction of hedonistic Saddaam Hussein spawn Uday Hussein relegates the character to a farcical cartoon.
  7. Bel Ami
    Pattinson portrays the monotonous Georges Duroy in two equally dry modes: scowls and smirks.
  8. Lovelace
    Just as the frequent cutaways from sexual activity tone down the titillation, Lovelace never garners the energy to construct a fully involving melodrama, rarely rising above Lifetime movie standards. Given the material, the irony here is that the filmmakers play it too safe.

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