Rolling Stone's Scores

For 2,368 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 O Brother, Where Art Thou?
Lowest review score: 0 Vampire's Kiss
Score distribution:
2,368 movie reviews
  1. Is it the clumsy script or the switch in directors -- Beeban Kidron in for Sharon Maguire -- that has sucked out the charm of the original and replaced it with crude pratfalls and enough shag gags to stuff the next three Austin Powers movies?
  2. It's not just hard to believe any of this, it's impossible. And director Jon Turteltaub (Phenomenom) directs with robotic cheerlessness.
  3. Alexander breaks the key rule that makes movies move: Show, don't tell.
  4. "Sixth Sense" rip-off.
  5. Breathlessly boring.
  6. You know a sequel isn't working when, ten minutes into the movie, a voice inside your head starts screaming, "Please make it stop!"
  7. It just plain sucks.
  8. Take a tired formula...Stir with a director, Florent Siri, who has no shame about stealing every sadistic suspense trick from the Die Hard series. Serve to a gullible audience willing to pay top dollar for secondhand goods.
  9. You might think there's no downside to a movie that peeks up the skirts of babes in micro-minis, but writer-director Angela Robinson's dimwitted satire is libido-killing proof to the contrary.
  10. Result? It's not scary, just busy.
  11. Purists, be warned: This scare-flick quickie has as much relation to the 1953 Vincent Price classic with the same title as Paris Hilton does to acting.
  12. An appallingly clumsy and stupid take on drugs, kidnapping and suicide in suburbia.
  13. Oh, how good actors can trap themselves in drivel.
  14. This movie isn't over-the-top -- it doesn't know where the top is. Trash addicts will eat up every graphic minute, even if they prefer to wait for the DVD.
  15. There's something pernicious about a toxic mix of sitcom and snickering sex jokes getting packaged and effectively sold as wholesome fun for the family.
  16. Build a comedy around Jim Carrey in manic mode and they will come. Case in point: Fun With Dick and Jane, a pointless, painfully unfunny and yet inexplicably popular remake of the 1977 fizzle with Jane Fonda and George Segal.
  17. It's getting harder to sustain a rooting interest in the career of Johnny Knoxville.
  18. Following "Derailed," this comic turd makes it two strikes for Jennifer Aniston. She looks great, but her acting is board-stiff.
  19. Roth takes three powerhouse actors -- Julianne Moore as the mother, Samuel L. Jackson as the cop who interrogates her and Edie Falco as another woman who lost her son -- and reduces their talents to rubble and their characters to screeching cliches.
  20. There I sit, suffering total numbness of body and brain, no longer having to wonder what it might be like to be buried alive in gooey marshmallow.
  21. Could 1960s-style sex, drugs and rock & roll really have been this dull?
  22. There's no code to decipher. Da Vinci is a dud -- a dreary, droning, dull-witted adaptation of Dan Brown's religioso detective story.
  23. Not since Gus Van Sant inexplicably directed a shot-by-shot remake of Hitchcock's "Psycho" has a thriller been copied with so little point or impact.
  24. The F&F franchise ran out of gas half way into the 2001 original.
  25. I can't believe that even the most rabid chick-flick masochists wouldn't gag on it.
  26. Can no one save the talented Sandler from himself? I hate this movie. Click. I hate this movie. Click. I hate this movie. Click.
  27. I laughed once or twice during this flat and fatuous farce, mainly because director and co-writer Greg Coolidge lifted a lot of it from "Office Space."
  28. Estevez means well. But having your heart in the right place is no excuse for insipid ineptitude.
  29. No go. Marshall deserved better than this misbegotten tribute.
  30. The real evil in this flick isn't Blackheart (Wes Bentley), the devil's son, it's the soul-sucking devil of modern cinema: Hollywood formula.

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