Rolling Stone's Scores

For 2,931 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 2.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Army of Shadows
Lowest review score: 0 The Texas Chainsaw Massacre: The Beginning
Score distribution:
2931 movie reviews
    • 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.
  1. 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
  2. You wanna feel all right? This is the holiday movie that will do it.
    • Rolling Stone
  3. Leaves you feeling tense and terrific. It's fun to be fooled.
  4. Restores our belief in the power of movies to transform reality, even temporarily. So what if it's not perfect? It's magic.
  5. The result is a film of surprise and wonder, lyrically attuned to the ticking intensity of romance.
  6. A blast of comic irreverence that serves as a starring vehicle for two stoner characters who had previously been relegated to the sidelines.
  7. What shakes the dust off this period piece is the vibrant acting.
  8. Eddie Murphy is funny again. Sadly, he lacks the guts to follow through on the cathartic self-satire that gives the film its distinction.
  9. Craig Zobel's potent and provocative Compliance is torture to sit through. It's also indispensable filmmaking. How is that possible? Check it out.
  10. Clark is a talent to watch. He's made a transfixing film about a family that looks touchingly and unnervingly like yours and mine.
  11. It's a blast.
  12. 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.
  13. 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.
  14. The haunting, heart-piercing Elah isn't perfect. It's something better: essential.
    • 73 Metascore
    • 75 Critic Score
    An offbeat mix of typically quirky elements, and it could have easily been hard to stomach. But the author and director Lasse Hallstrom's affection for these characters shines through. Their greatest asset is the young Leo himself, in his first Oscar-nominated role, bringing great sensitivity and complexity to a part that might have come off as cloying or cynical.
  15. What links the two films in fun and ferocity is the big game, a ripsnorter that is irresistibly entertaining.
  16. Blending humor and heartbreak in a performance that makes a small movie a richly satisfying one, Caine truly is magic.
  17. Killer-funny documentary.
  18. 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.
  19. Primed to keep your pulse racing so your brain will stop thinking, "WTF!" Go with the illogic or you'll miss the fun.
  20. Dawn is dynamite entertainment, especially in the rousing first hour.
  21. 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.
  22. You'll laugh till it hurts at Cold Souls.
  23. Cruise finds the core of Reacher in his eyes, with a haunted gaze that says this lone wolf is still on a mission and still a long way from home. That's the Reacher Lee Child created in his books. And Cruise does him proud.
  24. 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.
  25. Nonstop mayhem follows in a stampede of comic terrors ready made for Halloween. Sure it's exhausting. But Goosebumps, knowing its audience, lets it rip.
  26. 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.
  27. At its best, De-Lovely evokes a time, a place and a sound with stylish wit and sophistication.
  28. Malkovich weaves something delicate and devastating.
  29. 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.
  30. 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."
  31. You can certainly argue just how speculative this film version of Churchill is as history. But Cox's performance cannot be faulted. It's a master class in acting.
  32. 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.
  33. A tasty swig of holiday cheer.
  34. 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.
  35. Even when the drama gets overcooked, Lymelife sends off sparks.
  36. Martin excels in the title role.
  37. 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.
  38. Force Majeure is a jolt. You won't know what hit you.
  39. 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.
  40. 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.
  41. Affleck may strike you as off-putting at first, hitting wrong emotional notes, but hang on. State of Play keeps the twists coming.
  42. It’s sexy, suspenseful fun, and gorgeous-looking to boot.
  43. 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.
  44. 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.
  45. The Painted Veil has the power and intimacy of a timeless love story. By all means, let it sweep you away.
  46. 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.
  47. Writer-director David Michôd catches you in a vise and squeezes - hard.
  48. There's no sense to the scene in which the boys get together for a close-harmony rendition of "Afternoon Delight" -- just pure pleasure.
  49. 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.
  50. Some people find this twisty and twisted psychological thriller arty and pretentious. I find it arty and provocative.
  51. The young star, maturing nicely past the boyish enthusiasm he showed in "Slumdog Millionaire" and "Marigold Hotel" films, enters a new phase of his career with fierce commitment. Lion is one from the heart.
  52. This movie will get under your skin.
  53. It's important to note what Portman the filmmaker is doing here. She is most assuredly not providing CliffsNotes to Oz's book, letting us see what Amos sees and only partially understands.
  54. 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.
  55. Kudos to Stewart for making Rosewater more than an earnest plea for journalistic freedom. He makes it personal.
  56. 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.
    • 66 Metascore
    • 75 Critic Score
    The special effects vacillate between defiantly shitty and endearingly resourceful, and Carpenter and O’Bannon's sense of humor covers a similarly narrow ground between Loony Tunes goofiness and dorm-room stoned.
  57. And Pfeiffer gives a funny, scrappy performance that makes you feel a committed teacher's fire to make a difference.
  58. 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.
  59. Even when the film goes too far over the top to be saved, McConaughey mesmerizes.
  60. Even readers with reservations about the ways the film fails to measure up to the book should appreciate a smart, passionate, steadily engrossing thriller in a summer of mindless zap.
  61. 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.
  62. 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.
  63. 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.
  64. Nichols throws curveballs, but his film is unique and unforgettable.
  65. 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.
  66. 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.
  67. Jolly good show.
  68. 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.
  69. 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.
  70. Expertly directed by Richard Eyre (Iris) from Jeffrey Hatcher's play, the film is bawdy fun.
  71. If "Sideways" made you curious about vino, this fierce, funny and challenging doc opens up a world worth debating.
  72. What really lifts Celeste and Jesse Forever above the rom-com herd, besides breakout star performances from Jones and Samberg, is the movie's willingness to replace clichés with painful truths. It's irresistible.
  73. In updating Shakespeare’s "The Tempest," writer-director Mike Cahill focuses on the magic worth finding between a father and daughter. That’s why the film sticks with you. It’s a gift.
  74. Troy lacks the focus of Gladiator, not to mention that Oscar winner's scrappy wit. But why kick a gift horse when you're in summer-movie heaven?
  75. Comedian Patton Oswalt triumphantly nails every comic and dramatic nuance as Paul Aufiero, a New York Giants obsessive who has long ago moved from fan to fanatic.
  76. Despite a shaky framework, the magic works. It's a chance to see Ledger one last time in the act of doing what he loved. Take it.
  77. What could have been a sentimental train wreck emerges as a funny and touching portrait of three bruised people.
  78. Campbell keeps the action cooking and the suspense on a high burner in this compulsively watchable conspiracy thriller, while The Foreigner proves again is that Chan is the Man – now and forever.
  79. This gut punch of a documentary will knock you for a loop. File it under "no good deed goes unpunished."
  80. It's the whooshing terror that fries your nerves to a frazzle. Antal's control never falters.
  81. Odd as it is to say, Kingdom of Heaven loses its momentum the more Balian gets religion.
  82. It's hellish good fun. Stevens is mesmerizing as the avenger, helping director Adam Wingard turn The Guest into a blast of wicked mirth and malice.
  83. Relentless suspense allows The Girl Who Played With Fire to hold you in a viselike grip. But it's the performances of Nyqvist and especially Rapace that keep you coming back for more.
  84. In Mother and Child, he (Rodrigo Garcia) creates an emotional powerhouse.
  85. Free Fire may suggest Wheatley is deservedly moving up the industry food chain – it's executive-produced by Martin Scorsese – but it also merely a formal exercise, albeit one buoyed by the sense that the director is having the time of his life behind the camera.
  86. Barbershop: The Next Cut is stagey, often simplistic and it talks too damn much. But, hell, the talk has flavor and snap and a real-world sense of a community in crisis. Not bad for an escapist romp.
  87. Badgley, best known for playing "lonely boy" Dan Humphrey on Gossip Girl, is a revelation. He wears his role like a second skin.
  88. A pitch-black comedy that dances around its central theme without ever facing it head on. But oh, the demented, delicious mischief it kicks up.
  89. Tracks is an exhilarating adventure that opens up an unknown world to most of us and does it so well that we feel we're living it too.
  90. It would be no country for movie lovers without the Coens. They still manage to run unmuzzled while the rest of Hollywood runs scared.
  91. Don't let anyone spoil the surprises of this thrashing, thrilling chunk of cinematic gold. It's one for the time capsule.
  92. The callous inequity of what you see and hear will floor you. It can't happen here. But it did. It does.
  93. Vinterberg may rush the final act, but he gets pitch-perfect performances from Schoenaerts, Sheen and Sturridge and brings out the wild side in Mulligan, who can hold a close-up like nobody's business. She's a live wire in a movie that knows how to stir up a classic for the here and now.
  94. No knock on McGregor and Harris — fine actors both — but they never hold us rapt the way the plot demands.
  95. Inherent Vice is packed with shitfaced hilarity, soulful reveries, stylistic ingenuity and smashing performances that keep playing back in your head. It may not demand repeat viewings, but it sure as hell rewards them. It's the work of a major talent.
  96. Marston builds incredible tension. But it's the human drama etched on Moreno's young, weary face that gives Maria its potent punch.
  97. Cartwright, find something sadly timeless in a child torn apart in a custody battle that no one wins, least of all the child.

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