Movieline's Scores

  • Movies
For 693 reviews, this publication has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Artist
Lowest review score: 5 The Roommate
Score distribution:
  1. Negative: 41 out of 693
693 movie reviews
  1. Let Me In is a chilly little story set in a very cold place. But Reeves still knows when to go for the burn.
  2. Bold, weird, and a little stalkerish in its intensity, Luca Guadagnino's third feature is an open cinematic buffet, as ready to satisfy as it is to displease, depending on your taste and appetite.
  3. Sugar Man is most interesting when it touches on the conditions that combined to draw a cult hero out of some decent music and a generously enabled, imagination-firing mystique.
  4. Aronofsky isn't loose enough, or canny enough, to be in touch with its camp soul.
  5. Drive not only met my hopes; it charged way over the speed limit, partly because it's an unapologetically commercial picture that defies all the current trends in mainstream action filmmaking.
  6. Slick without feeling over-determined, Racing Dreams evokes -- just as, oddly enough, "Toy Story 3" does -- the more general feeling of childhood on the precipice.
  7. I suspect nearly everyone who sees the picture will have a loud opinion about this ending, which is just one way Holofcener works her stealth magic as a filmmaker and storyteller: She doesn’t close up shop on her movie until she’s made each of us an honorary New Yorker — in other words, a person with a strong stance and something to say.
  8. The Dark Knight aspires to the epic and reaches it on a number of impressive and less impressive levels. That it is a frequently, unnervingly glorious triumph of brawn over brains is not despite but in spite of Nolan's admirably stubborn - if persistently, risibly serious - insistence that the modern superhero can have it all.
  9. A dump is a dump, but it's immediately clear that these are working people who are making the best of their options and who have built a shared camaraderie out of that determination.
  10. At its simplest level, Jiro Dreams of Sushi is a portrait of a master. In its deeper layers, it explores what drives us to make things: Beautiful, jewel-like things, or things that delight our palate – or, in this case, both.
  11. The pleasures Get Low offers lie in the process of simply getting there, in watching performers take material that has some limitations (the script, inspired by a true story, is by Chris Provenzano and C. Gaby Mitchell) and turn it into something that has the rough-hewn, no-nonsense veracity of folk music.
  12. What Press comes up with in the end isn't just a portrait of individual eccentricity. Its larger subject is the way one man, just by being alive to what's around him, has created a vast, detailed anthropological record of how New Yorkers present, and feel, about themselves.
  13. This is the kind of sophisticated storytelling you rarely get even in live-action movies any more, full of unexpected turns and unruly human complications.
  14. Sex is threatening, as Brontë knew, and Wasikowska and Fassbender make this particular dance look exceedingly dangerous.
  15. Soft-spoken and stoical, Brannaman is a firm but sensitive presence in front of the camera and facing down a spooked horse.
  16. Turns out to be a disappointingly standard addiction story in its second half also serves as a reminder that Hollywood tends to be more invested in these types of self-serious movies than most actual audiences.
  17. Hansen-Løve’s gifts for mood and eliciting controlled, empathetic performances are well-suited to her sensitive material, and ultimately overshadow the film’s difficult and uneven central characterization.
  18. This is a picture whose dance steps are determined by any number of mishaps and misfortunes; like the dance floor of a great club on a good night, it's gorgeous, unruly and exhilarating all at once.
  19. Olsen's performance is restrained but not tentative; you could say the same for the movie around it.
  20. Margin Call's strengths are of mood and the slick surfaces of things, and these elements are haunting long after the credits have rolled.
  21. One of the finest of the year, The Loneliest Planet is based on a short story by Tom Bissell that's itself inspired by a famous Hemingway work, "The Short Happy Life of Francis Macomber."
  22. In short, Cronenberg has made an elegant film, with spanking. There's some mildly kinky sex in A Dangerous Method, but Cronenberg makes it neither exploitive nor so tasteful that it loses its charge.
  23. Director John Cameron Mitchell - adapting David Lindsay-Abaire's play - has a surprisingly deft touch with this admittedly downbeat material; he builds dramatic intensity in subtle layers, rather than slapping it on with a trowel.
  24. Divided into three chapters in a largely unsuccessful attempt at structure, the voice and the style don't combine as explosively as they should to pick up the material's slack.
  25. To paraphrase something Quentin Tarantino once said about Sergio Corbucci, Verbinski loves the uglies. They return the favor by looking almost beautiful.
  26. The picture's finale isn't as smart as it ought to be. Cornish tries to make a damning social statement, but the only thing you take away from the movie is how cool it is to kick alien ass.
  27. Warmly observed and solicitous of its audience to the point of caress, Win Win is as comfortable an experience at the movies as you might have this year.
  28. Bridesmaids is the Bride of Frankenstein of contemporary comedies, a movie stitched together crudely, and only semi-successfully, from random chick flick and bromance parts.
  29. The love Segel has for the Muppets is a genuine, perceivable and positive quality that suffuses this good-hearted revitalization of the franchise, and if some wish fulfillment sneaks in there too.
  30. I've seen Detective Dee twice now, and I still don't think I've taken the full measure of the visual nuttiness, and lushness, Tsui has packed in there.

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