Rolling Stone's Scores

For 2,913 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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Night on Earth
Lowest review score: 0 Crazy on the Outside
Score distribution:
2913 movie reviews
  1. But this is Washington's show, his Scarface, if you will, and his smiling, seductive monster is a thrilling creation that gives Training Day all the bite it needs.
  2. Witherspoon -- though miles from the keen satire of "Election" -- stays one sharp cookie even as her film crumbles.
  3. Too crude for the kids and not crude enough for connoisseurs of the "Something About Mary" school of hair jism and balls caught in zippers, Osmosis Jones seems doomed to fall between the cracks.
  4. I could have done more with the edgy humor of "Diner" and "Tin Men" and less of the mythmaking of "Avalon."
    • Rolling Stone
  5. The script hits rough patches, especially when Phoebe and Wolf get it on, but the sisters cut to the heart.
  6. It bristles with the brute force he brought to 1986's underrated "52 Pick-Up."
    • Rolling Stone
  7. Toothless satire relatively inoffensive and relentlessly mediocre.
  8. Harmless girlie trifle. Or at least it means to be.
  9. An uneven blend of mirth and malice.
  10. Never adds up to anything more substantial than shrewd observations. There's no dramatic core.
    • Rolling Stone
  11. There are times when The Good Girl is so low-key it damn near flatlines. Luckily, White creates compelling characters with a few deft brush strokes. The actors fill in the rest.
  12. Stylish entertainment and smartass fun when director John Dahl ("The Last Seduction") plays his strong suit (a gifted cast) instead of his weakest (a derivative plot).
  13. Turitz keeps it comic and romantic in just the right doses. Looking for a fun date flick? You found it.
    • 50 Metascore
    • 60 Critic Score
    Julia Roberts glitters like gold dust, and she is ideally partnered with Rupert Everett, who gives a witty, wicked, bust-out performance.
  14. Big, loud and lurid, but no less entertaining for that.
  15. What these guys do for revenge during one hellish day in the Big Apple makes the panic room look like Barney's toy box. The film itself goes off the deep end way before the end credits.
  16. Brought to the screen awkwardly but ardently by Mamet-actor supreme Joe Mantegna in his feature-directing debut.
  17. Director Brian Robbins ("Good Burger") and screenwriter W. Peter Iliff ("Prayer of the Rollerboys") have wrapped their moral fable in a glossy package of hard football action and towel-slapping, hard-body fun that might seem exciting if you've never seen a movie before.
  18. Veering on the maudlin, the film ultimately succeeds by striking a universal chord on the subject of inconsolable loss. It's a stirring, humane testament from a surprising source.
  19. Compared with ("The Sixth Sense"), there's no contest. Stir of Echoes has been outrun and outclassed.
    • Rolling Stone
  20. There's not that much that's new in screenwriter Marshall Karp's sitcom-ish memoir, but Alexander keeps the laughs coming.
    • Rolling Stone
  21. But just watch Hanks, with the effortless grace of a Jimmy Stewart, turn the loony into something sweetly logical. Now that is magic.
    • Rolling Stone
  22. This lively mess proves that when Toback loses his head, he does it with style.
    • Rolling Stone
  23. Carter can't sidestep the script's cliches, so he wisely cuts to the fancy footwork whenever possible.
  24. But the film exerts a hold. The crux is: for how long?
  25. You won't forget the way Carrey transcends mere impersonation to find the roots of Andy's torment.
    • Rolling Stone
  26. Yup, director Michael Lehmann, far from the glory days of "Heathers," has made a movie about a hard-on, in which he relentlessly pounds a flaccid premise.
  27. Until The Contender slips into partisan politics and platitudinous piety, it's a lively, entertaining ride.
    • Rolling Stone
  28. A meditation on the racial and class conflicts at the heart of the American character.
    • Rolling Stone
  29. The humor is slight, but the actors make the blarney go down easy.
  30. Modestly made and modestly charming.
    • Rolling Stone
  31. Director and co-writer James Mangold (Girl, Interrupted) is supplying comfort food for bruised romantics.
  32. What we're watching, however charming, is a fancifully costumed theater piece that cuts off the oxygen needed to make a play breathe onscreen.
  33. Thornton plays this low-ball farce with deceptive, masterful ease. Appreciate it.
  34. If "Mr. Holland's Opus" made you puke, you'd better bring a bucket to this true-life weepie about the importance of teaching music in schools.
    • Rolling Stone
  35. Shaft scores by lacing ba-da-boom action with social pertinence.
    • Rolling Stone
  36. Hunt's flat delivery is mercilessly cruel to Wilde's delicious epigrams. That sound you hear is Oscar spinning madly in his grave.
  37. Winkler's script creaks with melodrama, especially in the scenes with Merrill and his ex-wife, Ruth (Annette Bening), though Bening gives the role spine. Director Winkler fails to modulate the performances.
  38. Turns into a bogus drivel courtesy of a sitcom monster.
    • Rolling Stone
  39. Madden directed Paltrow in the play on the London stage, but he does his "Shakespeare in Love" goddess no favors by filling the screen with big close-ups that betray the theatrical origins of the piece and drain the movie of life and urgency. Proof hasn't been filmed at all -- it's been embalmed.
  40. Horns has style to burn, but there's no there there.
  41. Elf
    Ferrell makes the damn thing work. Even though he can't get naked or use naughty words, there's a devil of comedy in Ferrell, and he lets it out to play. Director Jon Favreau has the good sense to just stand out of his way.
  42. A cheerless exercise.
    • Rolling Stone
  43. It's all a blur, except for the music. That's workin'.
  44. Screenwriter Robert Towne has certainly not challenged his gifts -- the script is loaded with stock cars and stock characters -- but he does deliver what's necessary: a workable setup for exciting NASCAR racing footage shot on sixteen Winston Cup tracks from Daytona to Watkins Glen.
  45. Dalton has training in classical theater; he has pedigree, looks, class. But as Bond he is – face it – dull as dirt. Too much spoofing is bad (see Moore), none is deadly (see Dalton).
  46. Only Vince Vaughn registers hilariously as John's boss.
  47. I fully expect Paranormal Activity 3 to be box office gold. But it's barely worth two stars, let alone two cents. As for future followups, I offer this plea: STOP!
  48. Tepid.
  49. Say this for Emmerich, he's not stuffy. And he lucks out big-time with his cast.
  50. It's stale, like something you wrap in yesterday's newspaper.
  51. There's not enough here to sustain a half-hour sitcom, but Reese Witherspoon shoulders the burden with star shine to spare.
  52. A shock ending may be the best hope for this film, a convoluted mystery that thinks it's way smarter than it is.
  53. In not knowing who it needs to please, I Want to Believe pleases no one.
  54. If you're like me, diluted Smith is still better than no Smith at all.
  55. It's a one-joke premise that ultimately wears thin, but Krueger works some playful variations on a theme.
    • Rolling Stone
  56. The action and jokes pile up with exhausting repetitiveness. But Theroux and Franco make a truly hilarious team.
  57. In his screenwriting debut, Glee's gifted Chris Colfer, 22, proves he can lace a line with sass and soul. The downside of Struck by Lightning, besides the fact that Colfer's character, Carson Phillips, is struck dead in the first scene, is that Colfer hands himself all the best lines.
  58. When the script, by Zwick, Marshall Herskovitz and John Logan, doesn't sabotage the images, and the great cinematographer John Toll turns action into poetry, The Last Samurai emerges as a haunting silent movie.
  59. Aussie singer Natalie Imbruglia gets to play the babe, nothing more, but she does that brightly. The rest of the movie is a dim bulb.
  60. The too-blunt comedy defangs the film. As does the irritating voiceover from the Rolling Stone reporter, played Scoot McNary, which breaks a cardinal rule of filmmaking: show, don't tell.
  61. 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?"
  62. Hungarian director Istvan Szabo (Sunshine) overplays his hand and traps Bening in a role that's all emoting, no emotion.
  63. There's no denying the ambition in A Hologram for the King, but a struggle does not add up to a satisfying movie — or even a reasonable facsimile of the beauty and terror Eggers evokes on the page.
  64. Robert De Niro – wait for it – in the role of a mobster. Now there's an original idea.
  65. With the exception of a battle scene with apes on all fours charging the humans, the film is monumentally silly.
  66. Bad Teacher keeps running away from its combustibly nasty premise. Damn shame.
  67. Nolte brings a raspy authority to the role, and director Neil Jordan (The Crying Game) surrounds him with colorful characters.
  68. A long sit in the shallows, the equivalent of five half-hour episodes strung together.
  69. Short review of three little words: Way. Too. Long.
  70. Clooney and company work it too hard this time. You can tell they're huffing and puffing to stay afloat. But all I hear is: glug glug glug.
  71. The script by Linda Woolverton stays surface faithful to the characters created by Lewis Carroll, but the film has lost its soul.
  72. The only way to react is by bringing a barf bag or a strong sense of gallows humor.
  73. What a handsome empty shell of a movie Allied is.
  74. Escapism with a human touch -- it feels lived-in.
  75. It's tough to imagine a guy who won't squirm through this tale of 1950s housewife Evelyn Ryan.
  76. Reiner gets lucky with his two stars. Wilson has charm to spare, and Hudson brings humor and sexiness to playing Emma and four au pair girls from different countries. But even they can't float a balloon with lead in it.
  77. Marshall deserves props for putting the "show" back into the Pirates business. But face it, he's polishing a giant turd.
  78. xXx
    It's hard to hate a movie, even one this droolingly crass, that knows how to laugh at itself.
  79. What we have here is a model for the paint-by-numbers, perfectly generic, proudly soulless summer action flick. An original idea would die for lack of oxygen in S.W.A.T.
  80. The acting? Common and the Game score as baddies, but Hugh Laurie as an acid-tongued internal-affairs cop is disappointingly just House without the limp.
  81. Ritchie is all about the whooshing and headbanging, leaving no space between Holmes' words to savor their meaning. Downey is irresistible. The movie, not so much.
  82. Hollywood has a knack for sanitizing books that deserve better. In the case of The Glass Castle, it's a damn shame.
  83. It plays like an opportunity missed.
  84. Character gets sacrificed for just another true-crime drama.
  85. It's unlikely audiences will be echoing a starving Oliver's most famous line: "Please, sir, I want some more."
  86. Like a doggie in a window, this romcom relentlessly wags its tail so you'll fall in love and take it home. Not this time, puppy.
  87. The actors and admirably sensitive director Jake Scott (son of Ridley) can't compensate for Ken Hixon's long slog of a script.
  88. Alex Cross has been neutered on film, deprived of his sexuality, his family, his friends.
  89. Even the great ones hit snags. With The Limits of Control, Jim Jarmsuch gets tangled up in his own deadpan.
  90. Gray says she hates fishermen who catch and release: Getting jerked around hurts the jaw. See this movie and you'll know the feeling.
  91. Ledger's comic flair is a big plus in a film that is fanatically busy and fatally sexless.
  92. Mixing Rock with ooh-la-la turns out to be as appetizing as chalk and cheese.
  93. The result, sadly, is a mess.
  94. Our Idiot Brother comes off as a blueprint for a smart script no one really made. Now that's what I call dumb.
  95. Hamstrung by a script that seems determined to stop at all the big moments in Frida's life (she died in 1954 at age forty-seven) without giving anything time to resonate.
  96. With Del Toro's name in the credits, standard chills aren't enough. We want imagination to run riot.
  97. The scares are Hichcock hand-me-downs.
    • Rolling Stone
  98. The actors can't perform miracles. Hot dogs are served in the final scene, but trust me, Hyde Park on Hudson is no picnic.
  99. 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.

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