Rolling Stone's Scores

For 2,830 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: 65
Highest review score: 100 Fat Girl
Lowest review score: 0 Obsessed
Score distribution:
2830 movie reviews
  1. Another January dud. Broken City drops hot-shot actors in a quicksand of clichés and watches them sink.
  2. Doesn't deliver an ounce of charm.
    • Rolling Stone
  3. Instead of a scalding brew of mirth and malice, served black, Donner settles up a tepid latte, decaf.
  4. Bale even cedes the juiciest part to Aussie newcomer Sam Worthington, who is star material as a machine with a conscience. T4 is a mixed bag, but it's not f***ing amateur.
  5. Bateman doesn't make a false move, and a stellar Charlize Theron springs her own bolts from the blue as Ray's wife. As for Smith, he's on fire. There's nothing like a star shining on his highest beams. You follow him anywhere.
  6. Depending on your reaction to the cinematic outrages perpetrated by Danish director Lars von Trier (remember Dogville?), you might want to add or subtract two stars from the halfway (half-assed?) rating I just gave Antichrist.
  7. What holds us are the actors, including Terrence Howard as a cop who grew up with the brothers.
  8. This kinky game of murder and eroticism is preposterous but never boring.
  9. Should have been a fun update on the 1967 Brit farce. Director/co-writer Ramis comes on too strong with the camper trickery.
    • Rolling Stone
  10. In a summer of clones, Harvard Man is something rare and riveting: a wild ride that relies on more than special effects.
  11. Director Elie Chouraqui, who co-wrote the script, catches the chaotic horror of war, but why bother if you're going to subjugate truth to the tear-jerking demands of soap opera?
  12. Sleepers, for all the doubts it raises, is the work of a man who speaks for absent friends and "for the children we were." It's his secret heart.
  13. Mixing Rock with ooh-la-la turns out to be as appetizing as chalk and cheese.
  14. An alternately kick-ass and clumsy piece of sci-fi claptrap that puts its empty head down and gets the job done.
  15. It's visual magic, and director Barry Sonnenfeld, who followed his MIB high with the lows of "Wild Wild West" and "Big Trouble," revels in it. He doesn't so much direct MIBII as load it with cool stuff and flit around to whatever takes his fancy. As summer escapism goes, you could do worse.
  16. Looks and flows great, dripping with the 1940s crime-thriller atmosphere that James Ellroy described in his 1987 novel. On other levels -- plot (overstuffed), suspense (muted), acting (Hilary Swank as a femme fatale? Please!), posing (Scarlett Johansson plays dress-up as a mini Lana Turner), sex (it's all before and after) -- the movie is a bust.
  17. 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.
  18. The actors do what they can to keep their heads above the sudsy script. No go. It’s distressing to see a great subject go wrong in the right hands.
  19. Irresistibly deranged.
    • Rolling Stone
  20. Rob Marshall's flawed but frequently dazzling Nine is a hot-blooded musical fantasia full of song, dance, raging emotion and simmering sexuality.
  21. Fleischer isn't much on details. It's all about the zigzagging rush of the ride. Fair trade.
  22. Soul Men is a chance to salute these masters of mirth and music. Take it.
  23. "Paranormal Activity" has been here before, of course, but Silent House springs tangy new tricks, and Olsen is a primo scream queen.
  24. Quick and the Dead plays like a crazed compilation of highlights from famous westerns. Raimi finds the right look but misses the heartbeat. You leave the film dazed instead of dazzled, as if an expert marksman had drawn his gun only to shoot himself in the foot.
  25. Director Gregory Hoblit ("Primal Fear") is merely arranging cliches in new patterns until the surprise ending blows enough pro-military fervor up the audience's ass to make Colin Powell call a halt.
  26. Director Michael Hoffman sprays on the tears like a toxic mist. Avoid like the plague.
  27. The film belongs to Phoenix ("To Die For"), who is terrific. He has the gift, shared with his late brother, River, of conveying emotions without pushing them at you. The delicacy of his scenes with Tyler lets you enjoy the film for what it truly is: a heartbreaker.
  28. Alleged family fun.
  29. The result is just good enough to pass as an action flick you watch with the forgiving gaze that comes from too many beers and too little sleep.
  30. As a movie, Gold is slim pickings. But McConaughey keeps you riveted.

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