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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Somewhere
Lowest review score: 5 The Roommate
Score distribution:
  1. Negative: 41 out of 693
693 movie reviews
  1. It's a picture that romances its audience into watching in a new way - by, paradoxically, asking us to watch in an old way. The Artist is perhaps the most modern movie imaginable right now.
  2. Coppola is a filmmaker who fills up a big canvas with small moments: That's the opposite of working in miniature, even though she's attuned to the tiniest details.
  3. 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.
  4. Fincher and his screenwriter, TV writer-god Aaron Sorkin, have made a seemingly modest picture that achieves something close to greatness the old-fashioned, slow-burning way: By telling a story with faces, dialogue and body language of all types, from awkward to swaggering.
  5. To hell with that childlike sense-of-wonder crap: Despicable Me, instead of trying to return adults to a false state of innocence, reminds us that we all started out as ill-mannered little savages.
  6. 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."
  7. A direct and heartfelt piece of work. It's conventional, maybe, in its sense of filmmaking decorum, but extraordinary in the way it cuts to the core of human frustration and feelings of inadequacy, reminding us how universal those feelings are.
  8. If anything, Joe's sense of dream logic is more naturalistic than Lynch's, more grounded in the knowable world - as much, that is, as we can know about nature - and the luminous Uncle Boonmee is no exception.
  9. 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.
  10. The actresses' performances intertwine beautifully, like twin climbing vines vying for the attention of the sun.
  11. An adaptation that wholly and faithfully captures the spirit and mood of the book it's based on, and an example of computer animation - the 2-D sort - that shows the human touch in every frame.
  12. More universal than it is alternative, except in one sense: There's nothing else on the contemporary movie landscape like it.
  13. The movie's intricacy, and the way it finds its way into the emotional lives of its characters via (and not in spite of) that intricacy, is what makes it extraordinary. Tinker, Tailor, Soldier, Spy challenges audiences to believe in craftsmanship again.
  14. A sequel made with care and integrity, Toy Story 3 is just moving enough: It winds its way gently toward its big themes instead of grabbing desperately at them, and because its plot is so beautifully worked out, getting there is almost all of the fun.
  15. The best Allen movie in 10 years, or maybe even close to 20 - is all about that idea: Reckoning with the past as a real place, but also worrying about the limits of nostalgia.
  16. The picture is celebratory, in its own quiet way, as well as clear-eyed.
    • 71 Metascore
    • 90 Critic Score
    One of the most heart-wrenching and deeply felt films of the year.
  17. I never would have believed it, but Branagh gets the balance between pageantry and silliness just right.
  18. Sex is threatening, as Brontë knew, and Wasikowska and Fassbender make this particular dance look exceedingly dangerous.
  19. What's remarkable about Pina is how democratic it is, how casual it is about opening up the world of modern dance to people who know, or perhaps care, little about it.
  20. The Company Men is infinitely more despairing and yet also, paradoxically, more hopeful. It suggests that work can actually mean something to people, beyond just giving them the means to afford a nice house or a fantastic car.
  21. What makes The Master such a singular experience, as dense as a mille-feuille, is that it is not Lancaster's story but Freddie's, and told as such, in layers that are sensorially rich but that do not always lead easily from one to another.
  22. Ondine suggests that coincidence and magic are often the same thing.
  23. The imperatives of history are manifold, and this film is among the most urgent of them. You cannot look, and you must look: This happened. They were human beings. All of them.
  24. If Elise and Frank are opaque to each other, they're opaque for a reason, as, sadly, lovers sometimes are. (Come to think of it, this picture has more in common with "The Lives of Others" than you might expect.)
  25. The picture does, in places, feel like an unspoken homage to Kurosawa, though it's certainly its own distinct creation. But I wonder if it more closely resembles another end-of-an-era picture, Sam Peckinpah's "The Wild Bunch."
  26. Cave of Forgotten Dreams is compelling, sometimes in a hypnotic, sleepy-bye way.
  27. Brewer, who spent most of his childhood in Memphis, is one of the few contemporary filmmakers I know of who can make movies about the South without sentimentalizing it, glorifying it or looking down on it.
  28. Young Adult is the first of Reitman's films from which I haven't felt him choking out a message; ironically, its rawness yields the humanity that he thought he was wringing from "Up in the Air."
  29. Anton Corbijn's The American looks and feels like a movie made by a filmmaker who hasn't been to the movies since the '70s - and I mean that as the highest compliment.

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