Rolling Stone's Scores

For 2,312 reviews, this publication has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Calle 54
Lowest review score: 0 Brooklyn's Finest
Score distribution:
2,312 movie reviews
  1. Fighter shapes up as one of the great documentaries of this year, or any other.
  2. Starting with the outrageous and building from there, he ignites a slight love-on-the-run novel, creating a bonfire of a movie that confirms his reputation as the most exciting and innovative filmmaker of his generation.
  3. Like the music, the film is outspoken, roaringly funny, defiantly sexual and relentlessly in your face. I couldn't have liked it more.
  4. Taut, tense and enthralling, as smart and surprising as it protagonist.
    • Rolling Stone
  5. The last days of guilt-free glitz had consequences for more than two white chicks and their boyfriends, and Stillman shows how with delicious malice and unexpected compassion.
    • Rolling Stone
  6. Director Richard Eyre has struck gold. Twice. Dench and Winslet are a riveting matchup.
  7. Scorches the screen with a badass bravado all its own. Smart, sexy, funny and dangerous this high-wire act is a movie and a half.
  8. Savor their technique and the sizzling performances of Frances McDormand as an adulterous wife, Dan Hedaya as her vengeful husband and M. Emmet Walsh as a private detective from hell.
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  9. Logue hits every note of humor and heart in his breakthrough role. Don't miss him. He's that good.
    • Rolling Stone
  10. A landmark musical tribute.
  11. In uniting to honor Arenas, Bardem and Schnabel create something extraordinary.
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  12. Paradis sizzles in a star-making role that gleams like one of Gabor's blades. She's a spellbinder.
    • Rolling Stone
  13. An absolute stunner of a movie.
  14. The House of Mirth is not one of those teacup and doily movies; it's harsh and disturbing. Davies does superlatively right by Wharton. There's blood on the walls.
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  15. It's a mesmerizing spectacle.
  16. It's a wild, whacked-out wonder. Coenheads rejoice.
  17. A movie of prodigious power and feeling that is also high-spirited, hilarious and scorchingly erotic.
  18. What makes it such a mesmerizing, wickedly witty entertainment is the revealing portrait it paints of an era in which everyone is presumed guilty where greed is concerned... It's an often chilly movie, but the chill cuts to the bone.
  19. There may be bigger, costlier, weighter films this year. There's none lovelier.
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  20. Part of the miracle of Robert Altman's triumphantly fierce, funny, moving and innovative Short Cuts is that you can't get this movie out of your head. You keep playing it back to savor its formula-smashing audacity, its peerless performances and its cleareyed view of blasted lives.
  21. Stupendously exciting and emotionally engulfing... With probing intelligence and passionate feeling, Cameron has raised the adventure film very close to the level of art.
  22. Recoing gives a performance that won't soon be forgotten. Neither will Time Out. It's a great movie.
  23. A ravishing, romantic lark brimming over with style, intelligence and flashing wit.
  24. This volcanically funny and seriously scary look at America's obsession with guns is meant to shake us up good. And it does.
  25. It's the Pixar animators who keep grown-ups as riveted as the kids with visual marvels that dazzle and delight.
  26. Has the juice to get its hooks into you, knock you off balance and keep you that way for two hours. It's a triumph for director Sam Mendes. The passion and precision of his Road work is staggering.
  27. Chicago, based on Bob Fosse's Broadway smash, kills.
  28. This stuff is golden. Directors Brett Morgan and Nanette Burstein make sure the movie goes down like potato chips. It's great fun and compulsively watchable. And don't leave before Dustin Hoffman makes a hilarious appearance as the credits roll.
  29. Sensational, sicko fun -- you won't believe your eyes -- and just the thing to shake up the creeping conservatism that is draining the vulgar life out of pop culture.
  30. This is the untamed Apocalypse that Coppola envisioned in 1979 before money and mental pressures made him fear he had created something too long, too weird and too morally demanding for the masses.
  31. Nothing the Hughes brothers have done in their videos for Tone Loc, Tupac Shakur and others prepares you for the controlled intensity and maturity they bring to their stunning feature debut.
  32. With it's dynamite performances, strafing wit and dramatic provocation, The Insider offers Mann at his best -- blood up, unsanitized and unbowed.
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  33. A hugely entertaining blend of music, fun and eye-popping thrills, though it doesn't lack for heart.
  34. If you haven't already sold your soul to rock & roll, Almost Famous should seal the deal.
    • Rolling Stone
  35. Unique and unforgettable.
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  36. The superbly crafted suspense thriller…slams you like a sudden blast of bone-chilling, pulse-pounding terror.
  37. Cuaron's hot-blooded, haunting and wildly erotic film revels in the pleasures of the flesh without losing touch with thought and feeling.
  38. It is also Nicholson at his bravest and riskiest. By banking his fires and staying alert to the smallest details, he delivers a monumental performance that blasts your expectations and batters your heart.
  39. As ever, Freeman delivers miracles; he's as good as it gets.
    • Rolling Stone
  40. One terrific movie... Pacino and Depp are a match made in acting heaven, riffing off each other with astonishing subtlety and wit.
  41. Rea and Davidson are incomparably good in an exceptional film that is by turns darkly funny and deeply affecting. Though Jordan's control sometimes falters, it's a small price to pay for his daring.
  42. Gosford Park abounds in scenes to savor. It's a feast, and one of Altman's best.
  43. Stimulating entertainment, as rigorously challenging and painfully funny as anything the Coens have done. But it's necessary to meet the Coens halfway. If you don't, Barton Fink is an empty exercise that will bore you breathless. If you do, it's a comic nightmare that will stir your imagination like no film in years.
  44. Michael Gerbosi's script might have reduced Crane to a clueless cliche were it not for the bruised humanity that Greg Kinnear brings to the role. Kinnear is dynamite.
  45. Linklater is a sly and formidable talent, bringing an anthropologist's eye to this spectacularly funny celebration of the rites of stupidity. His shitfaced "American Graffiti" is the ultimate party movie -- loud, crude, socially irresponsible and totally irresistible.
    • 86 Metascore
    • 100 Critic Score
    What makes The Player the best and boldest American comedy in years is Altman's wizardry at leavening anger with cathartic wit. He sticks it to every target, himself and us included, with a wicked zest that hurts only when you laugh -- and The Player keeps you laughing constantly.
  46. The actors are outstanding, illuminating four different views of loneliness. But it's Camara's tour-de-force performance that anchors the film, that shocks and unnerves us.
    • 94 Metascore
    • 100 Critic Score
    The new King Kong of crime movies...Ferocious fun without a trace of caution, complacency or political correctness to inhibit its 154 deliciously lurid minutes.
  47. No one interested in the power and magic of movies should miss it.
    • Rolling Stone
  48. Fellowship is the real deal, a movie epic that pops your eyes out, piles on thrills and fun, and yet stays intimately attuned to character.
  49. It's taut, tense and terrific.
  50. A triumph of acting, writing and directing that defies glib description...the kind of artful defiance that Hollywood is usually too timid to deliver: a jolting comedy that makes you laugh till it hurts.
    • Rolling Stone
  51. Clooney brings raw intensity to his role; his scenes with McElhone are rooted in a fierce romantic yearning.
  52. Ang Lee, a world-class director working at the top of his elegant form, has done something thrilling. For all the leaping action, it's the film's spirit that soars.
    • Rolling Stone
  53. Anderson orchestrates a comic romance like no other. The effect is intoxicating. Sandler and the movie will knock you for a loop.
  54. Miyazaki is the Pied Piper -- see Spirited Away and you'll follow him anywhere.
  55. You may want to revisit this profanely hilarious Hollywood satire. . .just to catch the zingers the audience often drowns out with laughter. Hollywood corrupts absolutely, and Mamet turns the toxic process into the year's best and smartest comedy.
  56. Screenwriting this smart, inventive, passionate and rip-roaringly funny is a rare species. It's magic.
  57. Pulls you in, challenges your prejudices, rocks your world and leaves you laughing in the face of an abyss. It's alive, all right. It's also an uncompromising American classic.
    • Rolling Stone
  58. Gangs of New York is something better than perfect: It's thrillingly alive.
  59. Some movies are too good to miss. Judy Berlin is one of them...It works like magic.
    • Rolling Stone
  60. Clint Eastwood pours everything he knows about directing into Mystic River. His film sneaks up, messes with your head and then floors you. You can't shake it. It's that haunting, that hypnotic.
  61. A fiercely poetic study of violence. Stunningly shot in black-and-white. [14 Dec 1989, p.23]
    • Rolling Stone
  62. Gilliam, along with the gifted cinematographer Roger Pratt and production designer Jeffrey Beecroft, fashions a disturbing and dazzling lost world.
  63. Beach and Adams give remarkable performances that grow in feeling and intensity.
  64. A sharply observant and witty film that plumbs unexpected depths of feeling.
  65. In this risky, riveting film, our most prolific and provocative moviemaker uses his wit to touch a nerve. Crimes and Misdemeansors is so funny it hurts.
    • Rolling Stone
  66. Duvall is a blazing wonder in a film that ranks with the year's best.
    • Rolling Stone
  67. You'll thrill to the action, savor the tasty dialogue and laugh like bloody hell.
  68. The pleasure of this unique film comes in watching superb actors dine on Mamet's pungent language like the feast it is.
  69. The performances are uncommonly fine...Lone Star isn't built to ride trends. It's built to last.
  70. This emotional climax of the film, with its warring glints of despair and hope, typifies the stunning achievement of The Ice Storm and confirms Lee as a director of the first rank.
  71. What can I tell you? It works. Private Parts is a comic firecracker with a surprising human touch.
  72. Pure movie bliss.
  73. A rapturous masterwork.
  74. One of the year's best and most provocative films.
    • Rolling Stone
  75. That the performances are uniformly outstanding is a tribute to Rob Reiner, who directs with masterly assurance, fusing suspense and character to create a movie that literally vibrates with energy.
  76. To Die For, sparked by a volcanically sexy and richly comic performance by Kidman that deserves to make her an Oscar favorite, is prime social satire and outrageous fun.
  77. Exciting and then some, Face/Off blends the director's supercharged images of balletic brutality and spiritual catharsis with an off-the-wall humor that allows John Travolta and Nicolas Cage to really let it rip.
  78. Other films this year will have to sweat bullets to match the explosive power and subversive wit of David Cronenberg's A History of Violence. It slams you like a body punch and then starts messing with your head.
  79. Most movies stress the agony of art (think of Kirk Douglas' Van Gogh in "Lust for Life"). Schnabel's exceptional film honors his friend by showing the act of creation as a natural high.
  80. Takes off with the lightning speed of a thriller, the gonzo force of frontline journalism and the emotional wallop of a drama that puts a human face on shocking statistics.
  81. Ang Lee's unmissable and unforgettable Brokeback Mountain hits you like a shot in the heart. It's a landmark film and a triumph for Heath Ledger and Jake Gyllenhaal.
  82. Here is the jaw-dropping, eye-popping, heart-stopping movie epic we've been waiting for all year.
  83. Ephron homes in on what's been missing in movies and in life: ardor, longing and smart talk about the screwed-up notions that pass for love.
  84. Far from being exploitive, the effect is inspiring: This is the best of us.
  85. From the first sight of German soldiers goose-stepping past the Arc de Triomphe to a postscript that spells out the fate of characters whose moral confusion is all too real, Army of Shadows is a movie of its time -- and ours.
  86. A new American crime classic from the legendary Martin Scorsese, whose talent shines here on its highest beams.
  87. Amid the clamor from outraged purists and Shakespeare spinning in his Stratford-on-Avon, England, grave, you should notice that Luhrmann and his two bright angels have shaken up a 400-year-old play without losing its touching, poetic innocence.
  88. Writer and director Carl Franklin ("One False Move") scores a triumph in using the brooding atmosphere and racial tension of the sun-kissed, seedy City of Angels to reveal character and reclaim a neglected past that ace cinematographer Tak Fujimoto brings to vivid life.
  89. You won't know what outrageous fun is until you see Borat. High-five!
  90. In the year's richest, most complex and ultimately most heartbreaking film, Inarritu invites us to get past the babble of modern civilization and start listening to each other.
  91. Volver is Almodovar's passionate tribute to the community of women -- living and dead -- who nurtured him. Through the transformative power of his art -- carried on the wings of Alberto Iglesias' exhilarating score -- we feel their presence. You do not want to miss this one.
  92. Eastwood's direction here is a thing of beauty, blending the ferocity of the classic films of Akira Kurosawa (Seven Samurai) with the delicacy and unblinking gaze of Yasujiro Ozu (Tokyo Story).
  93. Del Toro never coddles the audience. He means us to leave Pan's Labyrinth shaken to our souls. He succeeds.
  94. Writer and first-time director Anthony Minghella lays on the whimsy a bit thick at times, but his wryly funny and heartfelt observations on sorrow go down much easier than the Hollywood brand of lump-in-the-throat histrionics.
  95. Broken Arrow delivers the hippest action fun around. Travolta's "Dr. Strangelove" exit will blow you away. Ditto the movie.
  96. But Stone has found in Cruise the ideal actor to anchor the movie with simplicity and strength. Together they do more than show what happened to Kovic. Their fervent, consistently gripping film shows why it still urgently matters.
  97. Joel and Ethan Coen's adaptation of Cormac McCarthy's 2005 novel is an indisputably great movie, at this point the year's very best.
  98. Nothing in Joe Wright's screen version of Ian McEwan's dense, internalized 2001 novel of secrets and lies should really work, but damn near everything does. It's some kind of miracle. Written, directed and acted to perfection, Atonement sweeps you up on waves of humor, heartbreak and ravishing romance.

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