Rolling Stone's Scores

For 2,998 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: 66
Highest review score: 100 Kill Bill: Vol. 2
Lowest review score: 0 Bad Boys II
Score distribution:
2998 movie reviews
  1. So Risen joins the swelling ranks of faith-based films that pander to audiences instead of serving them.
  2. Is a Brian DePalma movie that laughs at Brian De Palma movies still worth your time?
  3. 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.
  4. There's no thrill in Gone because you can see every surprise coming. It lies there flapping like a dying fish. Skip it.
  5. What I can't buy is that Refn has made a movie this lifeless and devoid of human interest.
  6. 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.
  7. Though saddled with hoary jokes, Goldberg at least pumps some funky life into the bland proceedings.
  8. 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."
  9. A trio of appealing actors is trapped in an action-spiked romcom death-sentenced by a lack of humor, heart and a coherent reason for being.
  10. Chockablock with things we're not supposed to notice: that Roberts is wasted; that she and Cusack have no characters to play, so it's virtually impossible to understand why she loves him or vice versa; that the script provides comedy without bite and romance without resonance.
  11. Off the shelf after two years to capitalize on the popularity of Vin Diesel, Seth Green and Barry Pepper. It should have stayed there.
  12. Slack direction fails to touch a nerve. Martin was scarier and funnier extracting Bill Murray's molars without Novocaine in "Little Shop of Horrors." Now that was one crazy dentist.
  13. What DePalma has never made is a dull movie. Until now.
    • Rolling Stone
  14. Judd is slumming again in ths lame suspense yarn that could barely pass as a TV quickie without the bankable names of Judd, Tommy Lee Jones and director Bruce Beresford.
    • Rolling Stone
  15. Crossing "A Beautiful Mind" with "Sex Kittens Go to College," first-time director Stephen Gaghan (he wrote Traffic) causes a head-on collision.
  16. There's a strong movie in this life, but writer-director Leon Ichaso ("Sugar Hill") hasn't found it.
  17. This mumbo-jumbo plays like The X Files on Prozac. No wonder the actors look narcotized.
  18. Something lazy, slow, shallow, stupid, amateurish, unfunny, unsuspenseful, uninformed, unspeakably dull and witlessly written, directed and acted (the special effects suck, too).
  19. For starters, it blows. Madonna continues to mistake a knack for striking poses with the interpretive skill of a real actor.
  20. Plods along in the Oscar-winning, yawn-inducing tradition of "Out of Africa," making me yearn for something less "National Geographic."
    • Rolling Stone
  21. Contrived, manipulative and shamelessly sentimental, this film is notable for the courageous reach of Sean Penn, who gives a bold, heartfelt performance.
  22. A fine case ... but none weighty enough to keep this fluff from evaporating as you watch it.
    • Rolling Stone
  23. It's sledgehammer whimsy, and it's not talking to me.
    • Rolling Stone
  24. For the first time, the Farrellys seem to be embarrassed by their own crudeness. For the first time, they should be.
  25. 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.
  26. It's soft-core pap for horny boys and their hornier dads.
    • Rolling Stone
  27. Cruz is a dish, but her movie is as soggy and indigestible as Styrofoam.
    • Rolling Stone
  28. Makes you gag.
  29. Even a search party would be hard-pressed to find a spark between Harrison Ford and Kristin Scott Thomas in Pollack's latest tear-jerker.
    • Rolling Stone
  30. 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.
  31. The kind of movie that TV stars do when they're on hiatus and trying to squeeze one in.
    • Rolling Stone
  32. Even with sex, drugs, hip-hop and a murder, these four stories are dull, dull, dull, dull.
    • Rolling Stone
  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. Trash.
    • Rolling Stone
  35. Rob Cohen, who last directed "The Skulls" --ouch! -- can consider this one another career-killing skid mark.
  36. The self-congratulatory histrionics of Williams, lower lip trembling as he triumphs over torture in the name of the human spirit, represents a trend in Hollywood to make accessible melodrama out of unspeakable tragedy.
    • Rolling Stone
  37. Slick-dick director Simon West, of "Con Air" and "The General's Daughter" infamy, continues to show no flair at all for blending action and character. Jolie and Lara deserved better. So did we.
  38. When a chick flick goes wrong -- and this one hits a dead end in hell -- it's a wipeout.
  39. Never comes as close as spitting distance to a laugh.
  40. A dreary film that's damn near torture to sit through.
  41. Environmentalists are up in arms. "Where did the shit go?" they want to know. The answer is painfully obvious: into the screenplay.
  42. The film is a sham, with good actors going for the paycheck and using beards and heavy makeup to hide their shame.
  43. There's no code to decipher. Da Vinci is a dud -- a dreary, droning, dull-witted adaptation of Dan Brown's religioso detective story.
  44. Plot analysis is useless, since the film's fate rests with MTV comic Shore in his feature debut.
  45. Guy flicks can be just as galling as the chick variety. Here's Exhibit A in how to lose an audience in ten minutes.
  46. This movie made my ears hurt. Raymond Chandler, Dashiell Hammett and James Ellroy could have turned this pulp into insinuating jazz. What's here is a cartoonish bore.
  47. Murphy looks comatose delivering the played-out poopy jokes.
  48. If you're gay and/or eight years old, HSM3 is the movie event of the year.
  49. American Pastoral, Roth's magnum opus, needed a film revolutionary on the order of Paul Thomas Anderson, Alejandro González Iñárritu or the Coen brothers to re-imagine it for the screen. McGregor's timid approach does no one any favors, including Roth – and especially the audience.
  50. How can a film look so radiant and be so hollow?
  51. The movie left me with the feeling of being trapped with a person of privilege who won't stop with the whine whine whine.
  52. Except for Connery, who is every inch the lion in winter, nothing here feels authentic.
  53. No comedy this year can beat this dud for mealy-mouthed hypocrisy.
  54. Despite the strong presence of Kick-Ass star Chloe Grace Moretz as Cassie, the movie is selling the same old YA yada yada yada that made phenoms of "Twilight" and "Divergent."
  55. It's a major dud.
  56. Beware 2012, which works the dubious miracle of almost matching "Transformers 2" for sheer, cynical, mind-numbing, time-wasting, money-draining, soul-sucking stupidity.
  57. It just plain sucks.
  58. Way to go, Battleship: Take the crassest of cynical junk, slather it in jingoism and sell it as rah-rah fun for right-wingers.
  59. This Parker spits in our collective eye. Don't blame us for spitting back.
  60. Critics and audiences should unite to KO this loser.
  61. Never achieves liftoff.
  62. If only their stuff had a spark of life it might be forgivable, but Allegiant plods along like a franchise on its last legs. Who remembers where we left off last time in Insurgent? My point exactly — no one.
  63. It's a paranoid thriller without suspense, urgency or a single new thing to say.
  64. Since the new Recall is totally witless, don't expect laughs. Originality and coherence are also notably MIA.
  65. What once bubbled up from a sincere love of Greek family has now congealed into the all-too-familiar Hollywood tale of milking a cash cow until cries for mercy.
  66. This flabby comedy deserves only one thing: to fall on its fat one.
  67. Larry Crowne is more than a missed opportunity. It's alarmingly, depressingly out of touch.
  68. Every attempt at fright lands with a deadening thud. For shock value, Wingard and cowriter Simon Barrett simply repeat stuff from the original film, only this time louder, lamer, duller and stupider. Scarier? That got lost in the woods with whatever you spent for a movie ticket.
  69. When a Spike Lee film doesn't fly, it sinks like a stone.
  70. It could have been the 21st-century Showgirls. I wouldn't have missed that for the world. Instead, Burlesque, starring Cher and Christina Aguilera playing drag queen versions of themselves with all the vitality of Madame Tussauds wax dolls, is a bust that lacks the pizzaz and bugfuck nuttiness of Paul Verhoeven's 1995 trash epic.
  71. It's not just hard to believe any of this, it's impossible. And director Jon Turteltaub (Phenomenom) directs with robotic cheerlessness.
  72. I can't believe that even the most rabid chick-flick masochists wouldn't gag on it.
  73. 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.
  74. Nothing can save this repetitive bore. Dude, where's your memory?
  75. Every scare is telegraphed. Every surprise is recycled from a better thriller. Even the devil would send this one back.
  76. A collection of moldy gags that director Tim Story tries to polish. Not with these turds, pal.
  77. As for the ladies who think any kind of chick flick is preferable to football, be careful what you wish for.
  78. 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.
  79. Audiences with a brain cell left have only one choice: Look for the first exit on the right.
  80. Unforgettable is definitely the wrong title for a movie you want to erase from your memory the second it ends.
  81. Martin is a gifted physical comic. He deserves an original role tailored to his own talents. Watching something this borrowed just makes me blue.
  82. Pan
    Joe Wright's origin story of Peter and the lost boys has to be the dimmest, deadliest take ever on J.M. Barrie's Pan myth.
  83. It's the perfect Valentine's date night movie, but only with someone you hate.
  84. 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.
  85. The young Smith has energy, but not the acting chops. And he's no miracle worker. The burden of carrying this dull, lifeless movie is just too much. And it's hell on an audience. It's not a good sign when you sit there thinking – Make. It. Stop.
  86. There may be worse movies this summer than The Great Gatsby, but there won't be a more crushing disappointment.
  87. I wanted Paquin, who deserves better than this, to call on her vampire pals from "True Blood" and yell, "sic em!" Oh wait, they're already bloodless.
  88. It's sad to see risk-taking director Mike Figgis (Leaving Las Vegas, Hotel) do a generic thriller for a paycheck and then not even screw with the rules.
    • 28 Metascore
    • 25 Critic Score
    The problem was that it was supposed to be animated, but contractual obligations forced it to become a live-action movie — specifically, an unfunny, effects-driven, story-deprived live-action film about a talking duck.
  89. The real evil in this flick isn't Blackheart (Wes Bentley), the devil's son, it's the soul-sucking devil of modern cinema: Hollywood formula.
  90. Despite Joan Cusack, whose comic spark earns the film its only star, Raising Helen is like tumbling into chick-flick hell.
  91. Following "Derailed," this comic turd makes it two strikes for Jennifer Aniston. She looks great, but her acting is board-stiff.
  92. A dull, dumb and unforgivably dated thriller, free of thrills and any kind of perfection.
  93. 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.
  94. The poster for this movie should read: Hello, Suckers!
  95. An epic bore that believes if you make a movie long and loud and repetitive enough, audiences will conclude it's saying something profound. Wrong.
  96. Righteous Kill, a.k.a. The Al and Bob Show, is a cop flick with all the drama of "Law and Order: AARP." This movie defines drag-ass.
  97. Demolition Man is sleek and empty as well as brutal and pointless.
  98. No go. Marshall deserved better than this misbegotten tribute.
  99. This third hunk of Pie is a worn-out gross-out, a remnant of a genre that now seems so five minutes ago.

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