Rolling Stone's Scores

For 2,888 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 2.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Foxcatcher
Lowest review score: 0 Ghost Rider: Spirit of Vengeance
Score distribution:
2888 movie reviews
    • 74 Metascore
    • 38 Critic Score
    Stone calls this bile satire. But satire takes careful aim; Killers is crushingly scattershot. By putting virtuoso technique at the service of lazy thinking, Stone turns his film into the demon he wants to mock: cruelty as entertainment.
  1. A triumph for the machines, more proof that we do indeed live in the Matrix.
  2. A two-hour search for a pulse... A miscalculation from a prodigious talent who has forgotten that you squeeze the life out of romance when you don't give it space to breathe.
  3. Good-natured fun when it isn't stale, which is most of the time, this talky comedy set in a Chicago barber shop is a sitcom pilot disguised as a movie.
  4. The film wants to make a case for Parker as the first modern woman. It gets the look and the attitude right, but it can't find her heart.
  5. Even the stalwart Nolte drowns in the laughable idiocy of the Wingo-Lowenstein love affair, which lifts Tides to the fiasco class.
  6. Even with sex, drugs, hip-hop and a murder, these four stories are dull, dull, dull, dull.
    • Rolling Stone
  7. Regrettably, Bergman can't do much with a one-note script by Jane Anderson that reduces Perez to a grating cliché, Cage and Fonda to a parody of Ken and Barbie and our interest in what could happen to them to dry ash.
  8. Even director Carl Franklin, an artful purveyor of sterner stuff in "One False Move" and "Devil in a Blue Dress," can't prevent One True Thing from descending into chick-movie hell.
  9. A fine case ... but none weighty enough to keep this fluff from evaporating as you watch it.
    • Rolling Stone
  10. From the lowercase lettering of the title to the deadly familiarity of the plot, there is much to grate on your nerves in this TV Afterschool Special trying to pass as a real movie.
  11. The result is a failed and lifeless experiment in which everything goes wrong.
  12. Veering between sentimentality and exploitation with a few misguided stops at raunchy sex farce, Reign Over Me never finds a tone to suit its purpose.
  13. We're getting more of the same, but less of the impact, like weed from a bad dealer.
  14. A clumsy package of clichés.
  15. What Dick rendered potent, Nolfi renders preposterous.
  16. The movie, however, is a crock.
  17. Rob Cohen, who last directed "The Skulls" --ouch! -- can consider this one another career-killing skid mark.
  18. Director Sydney Pollack zapped out a taut thriller in "Three Days of the Condor". But The Firm is mostly flab, in the manner of Pollack's elephantine Havana.
  19. It's not so bad that it's good. It's so bland that it's boring. Not even worth a hissss.
  20. Grating.
  21. Drab in the extreme. Timothy Dalton's second and wheezing, final turn as 007 was barely recognizable as a Bond film.
  22. Whatever qualms you might have about romanticizing mental illness, the misguided Benny and Joon thinks it's just darling.
  23. To be honest, I started hearing things, too. Just when Jones was delivering an inexcusably sappy speech about baseball being "a symbol of all that was once good in America," I heard the words "If he keeps talking, I'm walking."
  24. This afternoon-TV special trying to pass as a real movie earns an extra half star solely for Samuel L. Jackson, who brings his usual fire to the role.
  25. If you're gay and/or eight years old, HSM3 is the movie event of the year.
  26. It's not the trite talk that sends Cruel Intentions into a tailspin, it's the lightweight casting.
  27. Derivative and blindingly dull, Quick Change is an occasion for a quick nap.
  28. I am really sick of people going easy on this dud remake...Instead of the luminous Audrey Hepburn as Sabrina, the awkward chauffeur's daughter who goes to Paris and comes back a swan, we have Julia Ormond, a decent actress without an ounce of the movie-star glamour the part demands. Instead of Humphrey Bogart as Linus, the elder boss-man brother on the Long Island, N.Y., estate where Sabrina's father works, we have Harrison Ford at his most dour.
  29. CQ
    Writer-director Roman Coppola is trying to capture a time he's too young to remember, when the French New Wave reinvigorated film art.
  30. Jolie comes to this party ready to bite, but the movie muzzles her. Even at 97 minutes, Maleficent is still one long, laborious slog.
  31. Max
    "You're an awfully hard man to like, Hitler." Few serious films could survive a line like that. Max certainly doesn't.
  32. Even Cate Blanchett can't save this misbegotten horse opera.
  33. Despite melodramatic lapses -- the gripping action recalls Walter Hill's 1981 "Southern Comfort" -- this is Schumacher's most ambitions film since "Falling Down" in 1993, and it plays to his strengths with young actors.
    • Rolling Stone
  34. There may be worse movies this summer than The Great Gatsby, but there won't be a more crushing disappointment.
  35. Whitney Houston deserved better than to go out onscreen with this botch job remake of a 1976 soap opera that never deserved another thought.
  36. The Hughes boys blow it by burying a fine cast -- Robbie Coltrane as a cop and Ian Holm as a royal sawbones are standouts -- in stock scares, sappy romance and cliches that really are from hell.
  37. This movie hits all the wrong notes.
  38. Estevez means well. But having your heart in the right place is no excuse for insipid ineptitude.
  39. Strands Matt Damon and Casey Affleck (both named Gerry) in a desert with little to say and do except lose themselves in an existential wasteland of doomed beauty.
  40. What a bold notion for a movie, and what a bust in terms of execution.
  41. Launches the fall season with a crashing thud.
  42. I have the same allergic reaction to this open faucet of tear-jerking swill as I do to the 1996 Nicholas Sparks novel that inspired it.
  43. Is a Brian DePalma movie that laughs at Brian De Palma movies still worth your time?
  44. This big-screen Hamlet, pumped up to operatic scale by overkill director Franco Zeffirelli, exposes Gibson's shortcomings.
  45. No go. Marshall deserved better than this misbegotten tribute.
  46. Like the worst civics lesson, this movie bores away at you till your reactions are dulled.
  47. Watching the stars try to out-cutesy the mutt is one for the puke bucket.
  48. You can see most of the plugs in the trailer. As most fans of the early, better Bond films know, the only life left in the series is in the gadgets....As for humor, Brosnan can deaden a double-entendre faster than he can change outfits.
  49. The poster for this movie should read: Hello, Suckers!
  50. Though saddled with hoary jokes, Goldberg at least pumps some funky life into the bland proceedings.
  51. Offensive on multiple levels -- if only the plot had any levels at all -- Black Snake Moan leaves no "Tobacco Road" cliche unsmoked. Ricci gives it her all, and then some, but even her body and Jackson's blues can't heal a movie that rockets plum off its nut.
  52. This mumbo-jumbo plays like The X Files on Prozac. No wonder the actors look narcotized.
  53. Con Air has all the signs of a hit. That's depressing.
  54. I can't believe that even the most rabid chick-flick masochists wouldn't gag on it.
  55. It's damn hard to enjoy a thriller when you don't, won't, can't believe a word of it.
  56. Does romantic comedy have to come off as sugared stupidity? It does here.
  57. Overheated, underdone farce. Race for the exit.
  58. Me, I just think it blows. What does it matter if you spend millions on a movie - love the talking, battling bears! - if the effects are cheesy, the story runs off on tangents and after watching the movie fail utterly to be the next Lord of the Rings, you just want to go home.
  59. What I can't buy is that Refn has made a movie this lifeless and devoid of human interest.
  60. Though Wilson is always reason enough to see a movie, she’s stuck here in a fluffball that plays like warmed-over subplots from "Sex and the City."
  61. So Risen joins the swelling ranks of faith-based films that pander to audiences instead of serving them.
  62. This flabby comedy deserves only one thing: to fall on its fat one.
  63. Preposterous can be defined in many, many ways. But for now, let's use the plot details of The Accountant as Exhibit A.
  64. A sappy-sweet romcom that seems to have been invaded by a screenwriter - one Geoff LaTulippe - with delusions that he's David Mamet.
  65. Sadly, what Parkland becomes is a crying shame.
  66. The infuriating cop–out ending reduces the premise to mush. I wanted to scream. Here goes: Arghh!
  67. The true story of the LaMarcas, well told by the late Mike McAlary in Esquire, has been pounded into TV-crime mush by screenwriter Ken Hixon and director Michael Caton-Jones. Shockingly, the acting doesn't help.
  68. The cheap thrills wear off way fast, and we're left with atrocious acting, feeble writing and clueless directing (from first-timer Steven Quale). The horror! The horror!
  69. The movie left me with the feeling of being trapped with a person of privilege who won't stop with the whine whine whine.
  70. If you have to ask why this sucks, you deserve to waste your money. Why not also check out "Like Mike," "Juwanna Man" and "Hey Arnold! The Movie"?
  71. What the film lacks is suspense, surprise (the new ending is a dud) and passion.
  72. A borrowed idea -- hello, "Blade Runner," hi there, "Matrix" -- but an idea nonetheless.
  73. I left this movie feeling I’d been had. And not in a good way.
  74. Makes you gag.
  75. Shopworn propaganda.
  76. Beware 2012, which works the dubious miracle of almost matching "Transformers 2" for sheer, cynical, mind-numbing, time-wasting, money-draining, soul-sucking stupidity.
  77. Another January dud. Broken City drops hot-shot actors in a quicksand of clichés and watches them sink.
  78. Doesn't deliver an ounce of charm.
    • Rolling Stone
  79. It's not just that Jennifer Lopez looks lost and out of her league acting with Robert Redford and Morgan Freeman. That's to be expected. It's the drag-ass solemnity of this turgid family drama that makes you crazy.
  80. Director Michael Hoffman sprays on the tears like a toxic mist. Avoid like the plague.
  81. What's onscreen feels squeezed, truncated and curiously embalmed. It's got no kick to it.
  82. Is there an audience for this? Sadly, yes. There’s nothing wrong with a movie that cheers American heroes. But this one does so by reducing everything else to cardboard.
  83. How did talent like this conspire to pump out such bilge? I mean, really.
  84. Director Gillian Armstrong turns Sebastian Faulks' pungent novel about World War II into a soporific.
  85. Something cold and mechanical has seeped into the sequel. The divas push so hard for fun, it kills the spontaneity that fun needs to breathe.
  86. Satire in a blanket of bland.
  87. The movie plays like an evangelical prayer meeting, though I'd hold the hallelujahs. The characters we came to admire as vulnerable misfits hit the stage like visiting royalty and with a nonstop perkiness that makes the Von Trapps look like manic-depressives.
  88. Except for Kate Winslet's fearsome turn as a villain, the only terror Divergent roused in me was that the drag-ass thing would never end. Sorry, I'm a Candor.
  89. Director Antoine Fuqua (Training Day) can stage action, but he can't save a trivializing, reactionary script featuring a Hollywood star (read America) as a global savior.
  90. First-time filmmaker Kate Barker-Froyland trusts the silences that occur when two people aren't talking. That's a good thing. What's not so good is when the talk grows enervating.
  91. Give the girls a cheer, but remember: "Bring It On" is still the poo, Missy. Take a big whiff.
  92. I can't detect the hand of Hill in even a single scene in Bullet in the Head. It plays like a Stallone vanity project, impure and stupefyingly simple.
  93. For the first time, the Farrellys seem to be embarrassed by their own crudeness. For the first time, they should be.
  94. This tear-jerking twaddle, adapted by David Nicholls from his 2009 bestseller, is nearly as bad as Anne Hathaway's British accent, which is heading for infamy.
  95. Penelope is dead on arrival.
  96. And just when you think this movie cannot get more unendurable ... it does. And then some. You can see every twist telegraphed from miles away even in a driving blizzard. The Mountain Between Us is epic all right – an epic waste of talent and your time.
  97. Director Burr Steers, of the terrific "Igby Goes Down," is stuck polishing clichès.
  98. Buffy isn't heinous, just disposable. As a friend tells Buffy while she eyes a fashion purchase, "It's so five minutes ago."
  99. A romantic comedy so numbing it feels like Novocaine.

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