Rolling Stone's Scores

For 2,969 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 Crimes and Misdemeanors
Lowest review score: 0 Premonition
Score distribution:
2969 movie reviews
  1. A manipulative script about dog reincarnation that whacks your emotions like a piñata – that's forgivable. Not this. It shouldn't happen to a dog.
  2. As a movie, Gold is slim pickings. But McConaughey keeps you riveted.
  3. Diesel has chosen to keep selling stupid to audiences who are inexplicably eager to gobble it up. Damn shame.
  4. Like Apple founder Steve Jobs, Kroc – who died in 1984 – had a genius for marketing the talent of others. Is that a lesser gift? Not in these United States. Not then. And not in the age of Trump. Set more than a half century ago, The Founder proves to be a movie for a divisive here and now. Step right up. You might just learn something. God help us.
  5. This might have degenerated into a cheap gimmick if not for the way Shyamalan lets us inside the childhood trauma that pushed his tormentor into multiple personalities.
  6. Huppert's brilliance is indisputable, her performance alternately playful and deeply moving.
  7. Monster Trucks is a wreck, fueled by the crazy belief that noise and repetition can disguise the lack of credible writing, directing, acting and FX.
  8. Horror-movie fans often have put up with a lot to get their requisite amount of fright per month, and that tolerance limit is seriously tested by this slapdash attempt to introduce a new slasher hall-of-fame character into the mix.
  9. Like the four franchise fillers that preceded it, Underworld: Blood Wars is undoubtedly impervious to bad reviews. What it needs is a stake through the heart.
  10. I, Daniel Blake, a new Loach landmark which won the Palme d'Or at the Cannes Film Festival last year, sums up everything that has kept he muckraking motor running for decades.
  11. Adam Driver gives one of the loveliest and least likely to be rewarded performances of the year in Paterson. Why least likely, you ask? Because Driver's indelibly moving portrayal is so lived-in and lyrical you hardly recognize it as acting.
  12. Despite its grandiose title, 20th Century Women unfolds as series of small moments – some hilarious and heartfelt, other silly and sorrowful – that help define the characters and their time.
  13. Lots of movies are labeled as "inspirational" – Hidden Figures truly earns the right to the term.
  14. There’s enough here for half a dozen movies, and you can feel the severe overcrowding. But you can't keep your eyes off it.
  15. If you're looking for the best and most beguiling foreign-language film of the year, you'll find it in Maren Ade's Toni Erdmann, a German father-daughter story that will leave you laughing and choking back tears, often simultaneously.
  16. Evocative, mysterious and shot through with bruising humor and heartbreak, A Monster Calls gets you where you live and where there's no place to hide. There's magic in it.
  17. By showing signs of intelligent life in a universe of diseased, digital drivel, Assassin's Creed stands above the herd of movies based on video games by default.
  18. Almodóvar's admiration for Munro is not misplaced. Despite rough patches, Julieta morphs into a haunting and hypnotic tribute to both their talents.
  19. Berg's unquestioning faith in law and order could have used, well, a little questioning. But there's no doubt about the worth of the movie as a well-earned tribute to the heroes and victims of a tragic event that may have just made Boston stronger.
  20. No one with a genuine belief in the possibilities and mysteries of cinema would think of missing Silence. It's essential filmmaking from the church of Scorsese, a modern master who lives and breathes in the images he puts on screen.
  21. Sing doesn't have the grit or the grace notes of Zootopia, which it resembles only in its concept of an animal kingdom.
  22. The spectacle feels lifeless and what could have been a challenging moral provocation dissolves into sappy, feel-good pandering. Lawrence and Pratt deserve better. So do audiences.
  23. The movie of Fences doesn't need Hollywood bells and whistles. This writer, this director and these actors are all the magnificence required to grab your attention and hold it.
  24. The unholy mess that director David Frankel and screenwriter Allan Loeb have unleashed for the holidays strands an all-star cast...on a sinking ship that churns the waters from absurd to zombified with frequent stops at pretentious.
  25. With the smashing Jones giving us a female warrior to rank with the great ones and a cast that knows how to keep it real even in a sci-fi fantasy, Rogue One proves itself a Star Wars story worth telling.
  26. This pooped party brings you down from all the jokes that don't land and the flop sweat pouring off good actors whose forced cheer is exhausting.
  27. Bare and Miele do more than track a remarkable career here; they reveal the essentials of what makes Benson unique. Any paparazzo with moxie can get into the action and shoot first. But what this shutterbug's eye arranges, sometimes in a split second, is the work of a singular craftsman with a rare gift: raising the click of a camera shutter to the level of art.
  28. What makes La La Land such a hot miracle is how the passion for cinema and its possibilities radiates from every frame.
  29. If The Eyes of My Mother is occasionally stylistic to a fault and ends way too abruptly, it's also the mark of someone who isn't afraid to make something that leaves scars.
  30. Best Worst Thing brims over with moments of humor and heartbreak that reflect the feeling of knowing "we're what's new." This movie is more than good, pal. It's indispensable.

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