Rolling Stone's Scores

For 3,046 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: 66
Highest review score: 100 Adaptation.
Lowest review score: 0 One for the Money
Score distribution:
3046 movie reviews
  1. Before the jacked-up antics get to be too much, director Tony Leondis and co-writers Erich Siegel and Mike White get in a few satiric licks at a technology we've all come to call home.
  2. Truth to Power sprawls when it most needs to focus, diluting the power punch of the original with too much bobbing and weaving. But it's hard to argue that the crusade isn't still vital.
  3. Theron, in the middle of her action-hero phase and at her "Mad Max: Fury Road" best here, just nails it.
  4. It's a hardcore masterpiece that digs into our violent past to hold up a dark mirror to the systemic racism that still rages in the here and now.
  5. Landline never finds its emotional footing. Amid all the shouting – and these folks really go at it – there's a void where a soulful core should be.
  6. It's as gorgeous as anything the French filmmaker has made and as empty as a Trump tweet.
  7. Dunkirk is a landmark with the resonant force of an enduring screen classic.
  8. Even when Oldroyd loses his directorial grip, Pugh is there to make things right. Not many young actress have that sort of power to command the screen as if by divine right. She dives deep into this terrifically twisted, erotic thriller and makes it matter.
  9. Reeves achieves visual wonders even in the stillness before all hell breaks loose. It's what makes War for the Planet of the Apes such a unique and unforgettable experience – that, and Serkis's career-high performance. Hail Caesar, indeed.
  10. This is a poetic and profound experiment you do not want to miss.
  11. Yes, this far-out fable is too much in every department. But it is also the work of a visual storyteller drunk on the power of movies to stir things up ... and maybe even to heal. It's a bumpy ride, for sure, but hold on. Okja is worth it.
  12. Carell is the life of the party and the main reason this animated blast of slapstick silliness packs appeal beyond the PG crowd.
  13. News Flash: Tom Holland is the best movie Spider-Man ever. He finds the kid inside the famous red onesie and brings out the kid in even the most hardened filmgoer.
  14. Now this is what I call a summer movie. Baby Driver has it all: thrills, laughs, sex, nonstop action, a killer soundtrack, a star-making performance from Ansel Elgort and a director – Edgar Wright – who can knock the wind out of you.
  15. Amirpour dips into an seemingly bottomless supply of signs and symbols to show us an imploding society all too recognizable as our own, and you'll marvel at hallucinatory brilliance of her images. Yet The Bad Batch never finds a way to fuse its scattered intentions into a cohesive whole.
  16. Transformers: The Last Knight is all kinds of awful. It's also the worst of the series to date, which is saying something.
  17. Coppola is a virtuoso of image and sound. but don't mistake her delicate touch for weakness. The Beguiled is a hothouse flower of startling power and intimacy. You can't shake it.
  18. Nanjiani and his wife/co-screenwriter Emily V. Gordon carved this romantic comedy out of her personal hospital experience and their own culture-clash relationship. Their hilarious and heartfelt script has a rare authenticity that pulls you in and keeps you glued to the screen.
  19. Was this eventual big-screen take on Shakur going to be an epic look at a complicated legend's life and times – a Gandhi of gangsta rap iconography – or merely a slightly larger Lifetime TV movie filled with hysterics and greatest-hits moments. We now have an answer. It was not the one we wanted.
  20. The Book of Henry starts well, begins flirting with absurdity in the middle – and ends in crashing disaster. But the feeling persists that director Colin Treverrow believes every word in the shambles of a 20-year-old screenplay by crime novelist Gregg Hurwitz.
  21. The women in Rough Night are terrific company. They never wear out their welcome. You can't say the same for the movie.
  22. The result is inspiring, which isn't something you associate with this series.
  23. It's not perfect, but it is a gift to Sam Elliott – and to us.
  24. The funny, touching and vital Beatriz at Dinner probably tackles way more than it can handle, but so what? Godspeed. You won't know what hit you.
  25. Mara is funny, fierce and altogether wonderful, even up against an irresistible costar.
  26. You want horror that screws with your head? This is your ticket.
  27. Credit Rachel Weisz, who's just the dynamite actress needed to play a character who could be a misunderstood innocent or a fortune-hunting seductress who could be a cold-blooded killer. How delicious to watch the star keep us guessing.
  28. It's a monster fail.
  29. Martin excels in the title role.
  30. You can certainly argue just how speculative this film version of Churchill is as history. But Cox's performance cannot be faulted. It's a master class in acting.

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