Rolling Stone's Scores

For 2,738 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 2.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Kill Bill: Vol. 2
Lowest review score: 0 Untraceable
Score distribution:
2738 movie reviews
  1. Shaft scores by lacing ba-da-boom action with social pertinence.
    • Rolling Stone
  2. Hunt's flat delivery is mercilessly cruel to Wilde's delicious epigrams. That sound you hear is Oscar spinning madly in his grave.
  3. Turns into a bogus drivel courtesy of a sitcom monster.
    • Rolling Stone
  4. Madden directed Paltrow in the play on the London stage, but he does his "Shakespeare in Love" goddess no favors by filling the screen with big close-ups that betray the theatrical origins of the piece and drain the movie of life and urgency. Proof hasn't been filmed at all -- it's been embalmed.
  5. Horns has style to burn, but there's no there there.
  6. Elf
    Ferrell makes the damn thing work. Even though he can't get naked or use naughty words, there's a devil of comedy in Ferrell, and he lets it out to play. Director Jon Favreau has the good sense to just stand out of his way.
  7. A cheerless exercise.
    • Rolling Stone
  8. It's all a blur, except for the music. That's workin'.
  9. Screenwriter Robert Towne has certainly not challenged his gifts -- the script is loaded with stock cars and stock characters -- but he does deliver what's necessary: a workable setup for exciting NASCAR racing footage shot on sixteen Winston Cup tracks from Daytona to Watkins Glen.
  10. Only Vince Vaughn registers hilariously as John's boss.
  11. I fully expect Paranormal Activity 3 to be box office gold. But it's barely worth two stars, let alone two cents. As for future followups, I offer this plea: STOP!
  12. Tepid.
  13. Say this for Emmerich, he's not stuffy. And he lucks out big-time with his cast.
  14. It's stale, like something you wrap in yesterday's newspaper.
  15. There's not enough here to sustain a half-hour sitcom, but Reese Witherspoon shoulders the burden with star shine to spare.
  16. A shock ending may be the best hope for this film, a convoluted mystery that thinks it's way smarter than it is.
  17. In not knowing who it needs to please, I Want to Believe pleases no one.
  18. If you're like me, diluted Smith is still better than no Smith at all.
  19. It's a one-joke premise that ultimately wears thin, but Krueger works some playful variations on a theme.
    • Rolling Stone
  20. In his screenwriting debut, Glee's gifted Chris Colfer, 22, proves he can lace a line with sass and soul. The downside of Struck by Lightning, besides the fact that Colfer's character, Carson Phillips, is struck dead in the first scene, is that Colfer hands himself all the best lines.
  21. When the script, by Zwick, Marshall Herskovitz and John Logan, doesn't sabotage the images, and the great cinematographer John Toll turns action into poetry, The Last Samurai emerges as a haunting silent movie.
  22. Aussie singer Natalie Imbruglia gets to play the babe, nothing more, but she does that brightly. The rest of the movie is a dim bulb.
  23. Oddly, the published screenplay – while far from McCarthy's top-drawer – reads better than it plays. What's onscreen recalls a line from No Country: "It's a mess, ain't it, Sheriff?"
  24. Hungarian director Istvan Szabo (Sunshine) overplays his hand and traps Bening in a role that's all emoting, no emotion.
  25. There's no denying the ambition in A Hologram for the King, but a struggle does not add up to a satisfying movie — or even a reasonable facsimile of the beauty and terror Eggers evokes on the page.
  26. Robert De Niro – wait for it – in the role of a mobster. Now there's an original idea.
  27. With the exception of a battle scene with apes on all fours charging the humans, the film is monumentally silly.
  28. Bad Teacher keeps running away from its combustibly nasty premise. Damn shame.
  29. Nolte brings a raspy authority to the role, and director Neil Jordan (The Crying Game) surrounds him with colorful characters.
  30. A long sit in the shallows, the equivalent of five half-hour episodes strung together.

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