Rolling Stone's Scores

For 2,724 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 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Basquiat
Lowest review score: 0 Fantastic Four
Score distribution:
2724 movie reviews
  1. If you're ready to go with the hit-and-miss flow, you'll laugh your ass off.
  2. 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.
  3. Special kudos to Freeman, who kills it on the dance floor and later while drunk off his ass on vodka and Red Bull. You'll groan as much as howl at the jokes, but the veteran stars have a ball acting their age. Even when all else fails them, they're good company.
  4. A rich blend of humor and heartbreak.
  5. Most teen flicks just fake being fueled by anarchy. But the gut-bustingly funny Project X is the real deal. It's raunchy, reckless and ready to party. What's not to like?
  6. 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.
  7. It's a kick to see the adorably sexy Barrymore back in relaxed form again after the "Duplex" debacle and that calamitous "Charlie's Angels" sequel. Right now, she's the closest thing to sunshine you'll find at the movies.
  8. 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?"
  9. 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.
  10. Give the girls a cheer, but remember: "Bring It On" is still the poo, Missy. Take a big whiff.
  11. Would it be asking too much if the hit-and-miss jokes could maybe nudge an inch beyond the obvious?
    • Rolling Stone
  12. Winds up being faster and funnier than the first time. Chan's acrobatic high jinks play strikingly off of Tucker's wiseass humor.
  13. Spacey's deft directing can't offset a script that wants to be Chinatown and ends up as indigestible chop suey.
  14. Only near the end, when MacArthur and Hirohito meet in person, do we get fireworks. And that's thanks to Jones, who makes sure this old soldier will never die in our memory. As for this tepid movie, it just fades away.
  15. 21
    21 drags itself to a climax that puts credulity in splints. So what? In a multiplex of dumb-luck hits, it's a kick to watch Spacey and a gifted young cast use smarts to deal audiences a winning hand.
  16. I didn't believe a word of it.
  17. Pulls off thrilling stunts that will leave you a sweaty-palmed mess. It's top-tier movie escapism.
    • Rolling Stone
  18. The Core -- with its by-the-numbers plot and performances -- isn't offensive, just unblushingly tacky and derivative.
  19. It's the new year's first happy surprise.
  20. Broken Lizard does it with a shit-faced integrity that's worth a salute.
  21. 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.
  22. Affleck's provocative, postmodern take on JP as half-joke, half-victim is the damnedest plunge into the dark heart of our "reality" culture since Sacha Baron Cohen invented Borat.
  23. That's Emily Blunt, and she is perfection, playing the hell out of this blackout drunk and adding a touch of welcome empathy.
  24. Shot five years ago by director Michael Ritchie. No release until now. Uh-oh. Disaster? Pretty much.
    • Rolling Stone
  25. For the first time, the Farrellys seem to be embarrassed by their own crudeness. For the first time, they should be.
  26. The movie can be enjoyed for the hell-raising hooey it is.
  27. What links the two films in fun and ferocity is the big game, a ripsnorter that is irresistibly entertaining.
  28. 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.
  29. The dialogue is witty and spiked with delicious malice. At least it is when Pierce delivers it.
  30. Penelope is dead on arrival.

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