Rolling Stone's Scores

For 2,530 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 3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Apocalypse Now Redux
Lowest review score: 0 Obsessed
Score distribution:
2530 movie reviews
  1. Uproarious and unexpectedly biting.
  2. This is a generational family saga everyone can relate to, and Nair gives it her special magic.
  3. Hotly hilarious.
  4. What do you say about a movie that proves Zac Efron can act, introduces a master thespian in Christian McKay and launches a charm assault that is damn near irresistible? I say, see it.
  5. Emma Watson is sensational as Nicki.
  6. A summer firecracker. It's also a tribute to outcasts -- teens, gays, minorities, even Dixie Chicks. It's not without thought or feeling, except when its mind gets bent by the gods of box office. Then it's craven and empty.
  7. The animation is pretty, the songs are tuneful, and Josh Gad gets big laughs as Olaf, a snowman with a sun fetish. It's the holidays, people, work with it.
  8. This hilarious, high-kicking nonsense cost two cents and looks it -- hell, it was shot in 19 days, but you'll laugh helplessly anyway.
  9. A Dirty Shame is Waters unleashed, and wicked, kinky fun for anyone except the twits who rated it NC-17.
  10. In his third feature, following 2009's "Impolex" and 2011's "The Color Wheel," Perry, 30, offers a stinging portrait of writing as one of the bleeding arts. And he's bloody funny about it in the bargain.
  11. Bruckner is an amazement, piercing the heart without begging for sympathy. This small gem of a movie is the perfect setting for her breakthrough performance.
  12. The Village, even when its step falters, is on to something more provocative than seeing dead people. Its power, unrelated to digital monsters, comes from the tension building inside the characters.
  13. Kearns' conflict is readable in Kinnear's every word and gesture. His performance is worth cheering.
  14. Even when you know what's coming, Crazy Heart haunts you like a classic country song. It's a mesmerizer. So is Bad Blake. This dude also abides.
  15. Director Brad Anderson tightens the screws of suspense, but it's Bale's gripping, beyond-the-call-of-duty performance that holds you in thrall.
  16. Though Hollywood hyperbolizes the Gregory Poirier script -- Mann is a fictional character -- John Singleton ("Boyz N the Hood") directs the film with riveting urgency.
  17. The simplicity of Michael Petroni’s script seems a drawback at first. But skilled director Brian Percival (Downton Abbey) slowly, effectively tightens the vise as evil intrudes into the life of this child.
  18. Mamet is on his game, and that is a sight to see. No con.
  19. James Ponsoldt's funny and touching coming-of-age tale covers old ground with disarming freshness.
  20. Campbell Scott swings at one of the year's juiciest roles and knocks it out of the park.
  21. An idol had fallen, and Gibney and the superb director of photography Maryse Alberti were there to capture the descent, including a confessional interview in which Armstrong blames the corruption of the game far more than himself. The movie rambles at two-plus hours, but the provocation never stops.
  22. A surprise package of fun, fright and untamed imagination.
  23. The film never digs deep enough into the pressures on Glass from his family, his peers and himself to achieve psychological depth. But as an inside look into the hothouse of journalism, it's dynamite.
  24. Hamilton manifests her vision of what politics can do to individual thinking with subtlety and sophistication. Remember her name. She's a genuine find.
  25. Hirsch opens his heart to the role. And Dorff, matching the depth of feeling he showed in Sofia Coppola's "Somewhere," excels at digging deep into Jerry Lee's pain.
  26. Captain America: The Winter Soldier is every rousing, whup-ass thing you want in an escapist adventure.
  27. Gore keeps us riveted by being charming, literate and profoundly persuasive on a topic that's scarier than anything in a dozen Japanese horror flicks. Vote Gore on this one.
  28. In this roaringly comic and powerfully affecting road movie, Terence Stamp gives one of the year's best performances.
  29. With the help of Hamilton, Ross and Olmos, sublime actors who radiate grit and grace, Sayles has made Go for Sisters a movie that stays inside your head long after you see it. It's a keeper.
  30. The filmmakers offer no commentary. We watch. And what we see is explosive, deeply moving and impossible to shake.
  31. Comedy really is hard. So it's a kick when a filmmaker gets it right, as Noah Baumbach does in this stingingly funny take on aging.
  32. Sex, lies, betrayal and murder set among the gods of the Beat Generation. That's Kill Your Darlings, a dark beauty of a film that gets inside your head and stays there.
  33. There's Theron, like a force of nature, compelling us to go beyond TV-movie supposition and look Wuornos straight in the eye. Her raw and riveting performance makes Monster an experience you won't forget.
  34. It's good fun for a while, especially the therapy sessions that feature Luis Guzman as a gay hood with a paunch he covers in Day-Glo spandex and John Turturro as Dave's "anger buddy." John C. Reilly also scores as a bully turned Buddhist monk.
  35. Even education can't kill the demon of fun in Black. Enroll in his class and you won't stop laughing.
  36. The movie damn near lives up to that promise. Picture the Marx brothers and the Coen boys collaborating on a valentine spiked with mirth and malice.
  37. Melancholy and doubt may seem like gloomy qualities to blend into an amorous romp. But that shot of gravity is what makes Magic in the Moonlight memorable and distinctively Woody Allen.
  38. The power of this Holocaust tale sneaks up and floors you.
  39. Fueled by gripping suspense, dark humor and outraged humanity, the film is a modern horror story that means to shake you, and does.
  40. Though The Drop covers familiar ground, it simmers with charged emotion. The image that lingers belongs to Gandolfini.
  41. The film is rich in period flavor and refreshingly unhip.
  42. This is Cruise's show. And he nails it. The patented smile is gone, replaced by a glower that makes Jack Reacher a dark and dazzling ride into a new kind of hell.
  43. Shocking and indispensable viewing.
  44. Favreau supplies the go-go-go that makes the movie stratospherically entertaining, even without 3-D. But it's the promiscuously talented Downey who adds the grace notes that make Iron Man 2 something to remember.
  45. This is the vital city that inspired Fellini – alive and lived in. When an actor falters or a joke falls flat, Roma stays fresh and dynamic. You can't take your eyes off it.
  46. The three actors work wonders. And Zobel, as he did in 2012's mindbending "Compliance," nails every nuance of intonation and posture.
  47. Fiercely provocative, Paprika shames Hollywood’s use of animation as a kiddie pacifier.
  48. Jessica Chastain is a shining star with acting skills that resonate beyond her beauty. She is at her fierce, unerring best, which is saying something, in The Disappearance of Eleanor Rigby.
  49. That's what makes This Is 40 so potently, painfully funny, even when it's gross. What other film would dare suggest rectal monitoring as a form of closeness?
  50. Money, madness, incest and murder! Just the recipe for a twisted mesmerizer of a movie, if it doesn't creep you out.
  51. Who knew? The work of the Monuments Men is fresh territory for film, and Clooney builds the story with intriguing detail and scope.
  52. The Interpreter bristles with the smart, steadily engrossing tension that marked such 1970s goodies as "All the President's Men," "The Parallax View" and Pollack's own "Three Days of the Condor."
  53. Sinfully funny.
  54. It's a mouthful of a title for a rowdy, ramshackle funfest that flies by on its spirited humor and surprising heart.
  55. His (Chase) ardent, acutely observed debut makes him, at 67, a filmmaker to watch.
  56. You wind up caring deeply about the affair that began in the 1950s between American teenager Don Bachardy and three-decades-older Christopher Isherwood, the noted British author whose "Berlin Stories" inspired "Cabaret."
  57. Buscemi does not act in Lonesome Jim, but his sly humor and keen eye for nuance resonate in every frame. I can't recall having a better time at a movie about depression.
  58. Olmos is unsparing in depicting the dark side of human behavior. His in-your-face style stresses the urgency of a situation most of us choose to ignore. Though powerful, the film is sometimes preachy; there's a sense that information is being disseminated instead of dramatized. But it's hard to believe anyone will remain unmoved by American Me or its final shattering image of human desolation.
  59. It's scarier than "The Amityville Horror," as scandalous as "Fahrenheit 9/11" and loaded with more conspiracies than "The Interpreter."
  60. Eastwood hasn't had this much fun with a role in years, and his joy is contagious.
  61. O'Toole gives a staggering performance -- fearless, defiantly untamed and in its own way a work of art.
  62. Schumacher could have exploited those tabloid headlines about solid citizens going berserk. Instead, the timely, gripping Falling Down puts a human face on a cold statistic and then dares us to look away.
  63. Near the end, when Griet puts on that earring and Johansson magically morphs into the figure on that canvas, you'll be knocked for a loop.
  64. Even when the script slips into sermonizing -- a Swoff voice-over informs us that we're all still "in the desert" -- Mendes keeps invading us with emotions. The jolt of Jarhead is undeniable, and it comes when you least expect it.
  65. Despite grim doings involving sexual hysteria and chopped-up body parts (don't ask), Ramsay and Morton fill this character study with poetic force and buoyant feeling.
  66. It's Hanson's astute directing that makes the film's life lessons go down painlessly, turning the smartly entertaining In Her Shoes into a comfy fit for both sexes.
  67. Stylishly shot on the high-def cheap, runs 77 potently sexless minutes. Its subject isn't erotica, it's commodities trading.
  68. Does Carey go too far? Duh. But why gripe when you can't stop laughing?
  69. If you want to see explosive acting, just watch Judi Dench and Cate Blanchett ignite in this film version of Zoe Heller's 2003 novel.
  70. What saves director Ted Demme's comic talkfest from sitcom slickness is a quirky script by Scott Rosenberg and an appealing cast.
  71. It's a frisky romantic comedy with a great title and wonderfully appealing performances.
  72. Spellbinding.
  73. Amigo is combustible filmmaking, something that stays with you long after the final credits. In an entertainment universe of escapism and short attention spans, Amigo is a rousing antidote and a cause for celebration.
  74. At its relaxed best, when it's about, well, nothing, the slyly comic Bee Movie is truly beguiling.
  75. Ain't Them Bodies Saints offers no glib answers or smooth resolution, but there's no question that Lowery is a filmmaker with a striking future.
  76. Get ready to be shaken and stirred.
  77. Here's a fireball documentary about the 1970s, when filmmakers were stoked by sex, drugs, rock and, oh, yeah, social conscience.
  78. Reality tv, welcome to the multiplex. If "The Hills" went back to high school and developed wit, perception and a conscience, it might play something like Nanette Burstein's wallop of a doc.
  79. In the end, The Soloist isn't about BIG MOMENTS, it's about the grace notes, the kind that stay with you.
  80. Even when the film trips on its tall ambitions, you can't shake it off.
  81. Jenkins shows an innate gift for lacing laughs with the pain of experience -- Slums is based on her own life.
  82. Winslet's fierce, unerring portrayal goes beyond acting, becoming a provocation that will keep you up nights.
  83. Acted with relish by a note-perfect cast -- a romantic comedy of true sophistication. There's a sting in every laugh.
  84. Wilson drops the ironic smirk to give a sincerely affecting performance. His scenes with Murray provide the ballast when the script veers off into unconvincing pirate attacks and animated sea creatures.
  85. The hugely enjoyable Rock of Ages is saved by its music, a tasty brew drawn from Def Leppard, Journey, Foreigner, Bon Jovi, REO Speedwagon, Pat Benatar, Twisted Sister, Poison and Whitesnake. It's near impossible not to rock along.
  86. The film is a mesmerizing erotic odyssey given gravity and heart by Cruz.
  87. Relationships are killers, and this tough, tender, deeply satisfying romantic comedy from writer-director Lynn Shelton is also bruisingly funny.
  88. No more than a beguiling trifle. But in the dog days of summer, it's a perk to wallow in inspired silliness.
  89. What jump-starts the film is the casting of Johnny Depp as Don Juan and Marlon Brando as his shrink. They bring a playfully romantic touch to a drama that could have been dead weight in clumsier hands.
  90. Amid the action heroics of White Squall, Bridges creates a character of consequence.
  91. Richardson -- acting with her mother, Vanessa Redgrave, who plays her aunt, and her aunt Lynn Redgrave, who plays her mother -- finds the story's grieving heart. Fiennes is her match in soulful artistry.
  92. Kingsman is all over the place, sometimes to its detriment. But you won’t want to miss the surprises it delights in springing.
  93. Director Stephan Elliott uncorks a rare vintage of laughs tinged with heartache.
  94. Listen to me: trash can surprise you. So don't get all elitist about the so-called cheap thrills in Mr. Brooks.
  95. Maybe this redo didn’t need so many bells and whistles, but Mangold brings it home.
  96. Bridge of Spies may be a snooze to the ADD crowd allergic to historical drama, but it's dished out by experts.
  97. You'll have major fun at this movie. But what makes it something special is the way Kasdan laces the laughs with a sting.
  98. Margin Call is an explosive drama that speaks lucidly and scarily to the times we live in.
  99. Trouble enters only when the script overcomplicates things in the end. Until then, especially in a growling dogfight, director Francis Lawrence (Constantine) keeps you squirming.
  100. Here's a vampire movie for people who don’t like vampire movies. What We Do in the Shadows is packed with laughs, almost all of them are intentional.

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