Rolling Stone's Scores

For 2,426 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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Ida
Lowest review score: 0 Lethal Weapon 3
Score distribution:
2,426 movie reviews
  1. It's funny as hell, and like all comedy that stings, sorrowful at its core.
  2. A film of startling humor and feeling. For that, director Steven Shainberg, who co-wrote the script with Erin Cressida Wilson, owes much to two remarkable performances.
  3. Whatever you call this one-of-a-kind bonbon spiked with wit and malice, it's classic oo-la-la.
  4. Ritchie's got something all his own: a go-for-broke energy that cuts through the cliches of the crime genre.
  5. These melancholy Danes create something sweetly sexy, funny and touching.
  6. Williams gives a performance that is riveting in its recessiveness and, as a consequence, truly, deeply scary.
  7. Outrageously, even shamelessly, entertaining.
    • Rolling Stone
  8. It isn't the sex that shocks here, it's the chilling core of loneliness. Intimacy dares to cut deep, and its daring gets to you.
    • 80 Metascore
    • 80 Critic Score
    If it is indeed possible for a film to be both stylish and tasteless, then A Fish Called Wanda certainly fills the bill.
  9. Redford plays the game of filmmaking to reveal what he holds sacred: story, character, feeling, thoughtful pacing, and an alertness of nuances of honor and shame that most movies skip in the rush to the rush.
    • Rolling Stone
  10. These kickass Barbies bring heart to a machine tooled genre.
    • Rolling Stone
  11. A mesmerizing deconstruction of the brute nature of love.
  12. A hilarious hodgepodge, in which De Niro gives his best comic performance to date.
    • Rolling Stone
  13. Scores a solid hit.
  14. A shockingly intimate and deeply affecting film about the roots of sexual role playing.
    • Rolling Stone
  15. In crafting a fierce, fragmented, downbeat film about a character who makes the wrong decision as a man by being right as a cop, Penn flies in the face of what sells in Hollywood. Godspeed.
  16. This comedy is packed with p---- jokes, the cruder the better.
    • Rolling Stone
  17. Keeps the pulse pounding without sacrificing laughs or logic.
    • Rolling Stone
  18. The talented Mr. Minghella has made an imperfect movie but not an impersonal one. His morality tale means to get under the skin, and does.
    • Rolling Stone
  19. Think "Sex and the City" with men, only in Italian and with lots more hollering and hand gestures.
  20. Minahan wants us to see ourselves in the dark mirror of this outrageously funny satire. He's built the laughs wisely so they stick in our throats.
  21. Schindler's List, despite blatant compromises, is a rending historical document. But the film's near-certain victory is based less on merit than on the marketing of its ambitious intentions. The academy doesn't judge movies, it weighs them by subject matter. On that basis, Spielberg's epic tips the scales.
  22. It's the new year's first happy surprise.
  23. Bruckheimer and director Tony Scott have wisely set their course by Will Smith, who is sensational in a dramatic role that leans on him to carry a movie without the help of aliens or Big Willie-style jokes for every occasion.
  24. Lacks the cumulative impact of "Boyz," since Singleton allows repetition and sermonizing to dull his theme about the infantilization of black males. But Baby Boy leaves you shaken.
  25. Writer-director Gerard Stembridge keeps the amoral laughs bubbling.
  26. Keeps the laughs coming, and a dynamo named Steve Zahn is the cheif reason why. It's a one-joke movie, but the cast knows how to sell it.
    • Rolling Stone
  27. The Woodman has recovered his common touch. On him, it looks good.
    • Rolling Stone
  28. All the pieces hang together. You can't say that about many movies.
    • Rolling Stone
  29. Auteuil and Depardieu spar hilariously, and writer-director Francis Veber, following "The Dinner Game," offers another delicious treat.
  30. Jagger the actor is someone you want to see again. Eat your heart out, Madonna.
  31. Aims for pure joy and achieves it.
  32. With shocking humor and surprising grace, Von Trier creates something unique and memorable.
    • Rolling Stone
  33. Deliver it does, big time.
  34. You can feel the heat that ignites this gripping tale, and the humor and humanity that root it in feeling. Sayles knows how to use his social conscience: He lets it rip.
  35. Rules needs that dose of hilarity. Ellis' satire, filtered through Avary's harsh lens, is hard to stomach, harder to ignore.
  36. Delivers more suspense than a tombful of mummies.
    • 68 Metascore
    • 80 Critic Score
    Taking it's framework from classic fairly-tale characters like Cinderella, the British story of Little Voice is one of compassion, humor and music.
  37. A potent thriller that grows in intensity as the audience realizes that the character it likes most is most likely a nut job.
    • Rolling Stone
  38. You wanna feel all right? This is the holiday movie that will do it.
    • Rolling Stone
  39. Leaves you feeling tense and terrific. It's fun to be fooled.
  40. Restores our belief in the power of movies to transform reality, even temporarily. So what if it's not perfect? It's magic.
  41. The result is a film of surprise and wonder, lyrically attuned to the ticking intensity of romance.
  42. A blast of comic irreverence that serves as a starring vehicle for two stoner characters who had previously been relegated to the sidelines.
  43. What shakes the dust off this period piece is the vibrant acting.
  44. Eddie Murphy is funny again. Sadly, he lacks the guts to follow through on the cathartic self-satire that gives the film its distinction.
  45. Craig Zobel's potent and provocative Compliance is torture to sit through. It's also indispensable filmmaking. How is that possible? Check it out.
  46. It's a blast.
  47. Like his characters, Guiraudie is walking a tightrope, finding the point where sex and death exude a similar allure. You won't be able to look away.
  48. Steve Carell, best known as a team player on "The Daily Show," "The Office" and such movies as "Anchorman," earns top-banana status as Andy. He is flat-out hilarious.
  49. The haunting, heart-piercing Elah isn't perfect. It's something better: essential.
  50. What links the two films in fun and ferocity is the big game, a ripsnorter that is irresistibly entertaining.
  51. Blending humor and heartbreak in a performance that makes a small movie a richly satisfying one, Caine truly is magic.
  52. Killer-funny documentary.
  53. Credible? Not really. But Cage and Rockwell play off each other with devilish finesse. And Lohman (White Oleander) is on fire -- she's a comer.
  54. Primed to keep your pulse racing so your brain will stop thinking, "WTF!" Go with the illogic or you'll miss the fun.
  55. Dawn is dynamite entertainment, especially in the rousing first hour.
  56. Warrior aspires to myth. It's Cain and Abel battling it out in the face of a decidedly ungodly father before humanity goes down for the count. Strong stuff.
  57. You'll laugh till it hurts at Cold Souls.
  58. The film is technically raw, but the sight of Van Peebles playing his father at a defining moment in movie history exerts a potent fascination.
  59. This is a Ferrell you've never seen before, nailing a role that calls for breakneck humor in the final race against the clock and touching gravity in the love scenes with Gyllenhaal.
  60. At its best, De-Lovely evokes a time, a place and a sound with stylish wit and sophistication.
  61. Malkovich weaves something delicate and devastating.
  62. Estevez keeps his touch light, with a minimum of pedantry. The Way is really a gift from this son to his father. Sheen, gradually revealing a man painfully getting reacquainted with long buried feelings, who gives the film its bruised heart.
  63. The actors are world-class charmers, and the magnificent Dame Maggie is the diva divine. Her wit still stings, as it does on "Downton Abbey."
  64. It's a wet dream for anyone who's ever dreamed of getting an edge on the information highway. The worst side effect is that you won't believe a word of the damn thing in the morning. Fair exchange.
  65. A tasty swig of holiday cheer.
  66. It's one crazy love story, but Carrey and McGregor make it work by making us buy the romance as the real thing. There's something about these Marys that pulls you in.
  67. Even when the drama gets overcooked, Lymelife sends off sparks.
  68. This is rock-solid entertainment. McConaughey, a cunning mesmerizer in the courtroom, steers this Lincoln into what could be a hell-raising franchise. More, please. Soon.
  69. Force Majeure is a jolt. You won't know what hit you.
  70. Phantom, still running on Broadway after sixteen years, is a rapturous spectacle. And the movie, directed full throttle by Joel Schumacher, goes the show one better.
  71. Tsunashima is superb, and a never-better Collette (The Sixth Sense, About a Boy, The Hours) has a radiant intensity that hits you right in the heart. She burns this movie into your memory.
  72. Affleck may strike you as off-putting at first, hitting wrong emotional notes, but hang on. State of Play keeps the twists coming.
  73. It’s sexy, suspenseful fun, and gorgeous-looking to boot.
  74. Rogen is a nonstop hoot, but it's the byplay between Frost and Pegg that roots the laughs in characters we care about. That's right: characters. No anal probes.
  75. Harron needed just the right actress to play Bettie. And she lucked out big time. Gretchen Mol (The Shape of Things) is hot stuff in every sense of the term. She delivers the first performance by an actress this year that deserves serious Oscar consideration.
  76. The Painted Veil has the power and intimacy of a timeless love story. By all means, let it sweep you away.
  77. A brilliant chronicle of the life and twisted times of a most unlikely bad boy, a skinny, four-eyed, sex-obsessed misanthrope with no weapons to fire back at the society that rejected him save one: The nerd can draw.
  78. Writer-director David Michôd catches you in a vise and squeezes - hard.
  79. There's no sense to the scene in which the boys get together for a close-harmony rendition of "Afternoon Delight" -- just pure pleasure.
  80. Slick thrills and the star's blue eyes are enough to make Ransom the fall's monster hit. Instead, Howard and Gibson stake out a Moclock side in all of us that won't be banished, not even by a happy ending. I'll be damned.
  81. Some people find this twisty and twisted psychological thriller arty and pretentious. I find it arty and provocative.
  82. This movie will get under your skin.
  83. Director and co-writer Christopher Smith, mischievously blending "The Office" with "Friday the 13th," keeps things fierce and funny enough to give Steve Carell ideas.
  84. Kudos to Stewart for making Rosewater more than an earnest plea for journalistic freedom. He makes it personal.
  85. It's rare to find a movie that uses music to define love without sentimentalizing it. But Begin Again, with songs by Glen Hansard and New Radicals frontman Gregg Alexander, is a wonderfully appealing exception.
  86. And Pfeiffer gives a funny, scrappy performance that makes you feel a committed teacher's fire to make a difference.
  87. But for all its visionary brilliance, the movie version of Interview never lets us close enough to see ourselves in Louis. We're dazzled but unmoved.
  88. Even when the film goes too far over the top to be saved, McConaughey mesmerizes.
  89. There's enough plot here to sink a soap opera, but the actors prevail. Parker is a no-bull charmer. Driver leaves bite marks on her juicy role. And Mbatha-Raw, so good this year in "Belle", is dynamite.
  90. The result is something you won't see coming. Don't look for sweet and embraceable. This movie is not afraid to show its claws. Like the spirited teamwork of Kazan and Dano, Ruby Sparks is honest, deep and true.
  91. Geena Davis and her director and husband, Renny Harlin, recover from their "Cutthroat Island" fiasco in grand style, and screenwriter Shane Black ("The Last Boy Scout") juggles jolts and jokes with a mad fervor that almost earns him his $4 million salary.
  92. Nichols throws curveballs, but his film is unique and unforgettable.
  93. Go with the whimsical flow that includes a hilariously morose robot named Marvin, voiced by the great Alan Rickman with the weight of the galaxy resonating in every bored, cynical syllable. Adams would be pleased.
  94. A fresh and unexpected documentary that plays like a nail-biting mystery and a ticket to ride the whirlwind where art and commerce do battle.
  95. Jolly good show.
  96. The Homesman lacks the scope and depth of Jones' dynamite 2005 directorial debut, "The Three Burials of Melquiades Estrada." But Jones and Swank, walking the tightrope between comic and tragic, ignite combustibly.
  97. Hornet's Nest is talky but indisputably terrific, and it ends in a dazzling display of courtroom fireworks. Rapace is hot stuff in any language. Oscar, take heed.
  98. Expertly directed by Richard Eyre (Iris) from Jeffrey Hatcher's play, the film is bawdy fun.

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