Rolling Stone's Scores

For 2,665 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Short Cuts
Lowest review score: 0 Tomorrow Never Dies
Score distribution:
2665 movie reviews
  1. Surprise is lacking. Ditto humor, though Miles Teller (Whiplash), as a thorn in Four's side, gets in a few fun licks by not staying on the film's draggy tempo. Otherwise, Insurgent stubbornly fails to surge.
  2. It looks slick, pricey and starry – Indiana Jones teams up with James Bond for a gunfight with space demons. But even Harrison Ford and Daniel Craig can't save a movie that's all concept, no content.
  3. It doesn't help that Damon and Cruz fail to generate sparks or that the second half of the film, in which John and Lacey face hell in a Mexican prison, feels bluntly edited to fit a two-hour running time.
    • Rolling Stone
  4. Instead of a scalding brew of mirth and malice, served black, Donner settles up a tepid latte, decaf.
  5. What the movie damagingly lacks is a personality of its own.
  6. Despite a hint that Peter (Jeremy Sumpter) and Wendy (Rachel Hurd-Wood) might get it on, there's nothing to crow about.
  7. One raucous night, one raunchy party, "American Graffiti filtered through "Dazed and Confused" and the Shermer High films of John Hughes.
  8. What doesn't spark is the love story. Morton still seems soggy from her "Minority Report" role as a drenched pre-cog. Who wants romance in a future where glum is the word?
  9. For all the bells and whistles – an electronic score by M83, a screen-busting Imax presentation and Cruise going full throttle – Oblivion feels arid and antiseptic, untouched by human hands. Bummer.
  10. No matter Bateman and Reynolds make The Change-Up seem a lot better than it is. Each earns a star in my review. The movie would be literally nothing without them.
  11. It's no go. Green and Gothic make for a clumsy fit.
  12. Until the last half-hour, when Lucas actually does establish a emotional connection between the landmark he created in 1977 and the prequel investment portfolio he laid out in 1999, the movie is one spectacularly designed letdown after another.
  13. The sequel, also directed by Harold Ramis, is painfully padded.
  14. The team of producer Ismail Merchant, director James Ivory and writer Ruth Prawer Jhabvala drops the ball with this droopy, snail-paced prigs-in-wigs movie.
  15. Watching John Travolta ease into a role is always a pleasure, but this film version of Nelson DeMille's 1992 best-selling mystery novel is a lurid mess.
  16. Before it goes off the rails into strained sermonizing, this sorta-sequel to 2008’s delightful "Forgetting Sarah Marshall" gets in big laughs.
  17. Towne doesn't weave all the elements as deftly as before, and his political observations seem secondhand.
  18. There is nothing new in Robert Greenwald's sobering doc.
  19. Lavishly produced swashbuckler that should have been far more entertaining.
  20. Close gets laughs, as does Bette Midler as a Jewish rebel. But the sting is gone.
  21. This is the kind of movie that they show on planes -- white noise that lulls you to sleep.
  22. The Stooges were always better in short doses. And 90 minutes of PG nyuk-nyuk-nyuk can seem like an eternity.
  23. To sum up, Definitely, Maybe is crap with compensations.
  24. The script is too primly PG-13 to really go for it. Warm Bodies even suggests that true love can help the right zombie grow a new heart. That's a con job that makes Bodies lukewarm at best.
  25. The actors, especially Grace, fight hard against a schizoid script (the kids are rubes one sec, hipsters the next) and cotton-candy direction from Robert Luketic (Legally Blonde). It's a losing battle.
  26. As a movie, Papa improves every time it shuts up and allows action to define character.
  27. This oddball mix of "The Cotton Club" and "Six Feet Under" is a big, beautiful mess. But it offers the not-uninstructive spectacle of talented people stumbling over large and unwieldy ambitions.
  28. Brazilian director José Padilha (Elite Squad, Bus 174) soldiers on stolidly, but lacks the Dutch Verheoeven's abiding sense of mischief.
  29. Miles below the Woodman's class. It's possible that a more astringent script could have provided fuel for the actors and A-list director Ron Howard.
  30. What good is a wallow in sicko sadism if you take all the fun out of it?
  31. How could a 2009 raunchfest that slapped a grin on my face I couldn't unglue degenerate into a cold dish of sloppy seconds?
  32. Though shot for maximum moodiness by the gifted Peter Deming ("Mulholland Drive"), the movie straps you in for a head trip that promises hallucinatory wonders but delivers the same old Hollywood formula with sugar on top.
  33. It's simply a retread of the first Ride Along, a 2014 box-office hit, and proof positive that a bigger budget doesn’t buy bigger laughs.
  34. Certainly blunt, and since Anderson and Bach are veterans of the porn trade, there is no skimping on the sex.
  35. There was a time when guys would grab a six-pack and watch this kind of flick at a drive-in. I mean that as a compliment.
  36. Stroman should have studied the original Producers that Brooks directed in 1968, with Zero Mostel and Gene Wilder. It answers the question "Where did they go right?"
  37. As a thriller, Firewall is flabby and familiar.
  38. The filmmakers don't trust us to understand what Eddie is feeling about the Olympics without blaring a musical message from Hall and Oates on the soundtrack, "you make my dreams come true."
  39. It’s feels like the New Puritanism (recently repped by the outcry over Janet Jackson’s "wardrobe malfunction" at the Super Bowl) is seeping in. But in the barbershop? Say it isn’t so.
  40. Imagine David Mamet rewriting his political satire "Wag the Dog" -- in which a president and his advisers declare war to distract the media from the prez's horn-dog activities -- as a joke-free kidnap drama.
  41. The film looks and feels authentic, but Duchovny has powered his undeniably personal journey with a counterfeit heart.
  42. With Newman, the movie emerges as a lively character piece with flashes of humor and grace.
    • Rolling Stone
  43. Would it be asking too much if the hit-and-miss jokes could maybe nudge an inch beyond the obvious?
    • Rolling Stone
  44. It's slick girlie stuff, but the cast makes it go down easy.
  45. What a shame that Kelly's pacing doesn't run as fast as his imagination. Instead of sweeping you along, The Box just sits there like something unclaimed at lost and found. Damaged goods.
  46. The estrogen overload damn near did me in.
  47. Pitt and Ford try to dig deeper, but the script undercuts them with preachy dialogue that might as well read, "Insert stereotype here."
  48. Wood, whose mostly mute turn is defined by his black suit and glasses, can only stare in stupefaction at Schreiber's jittery mix of broad laughs and sentiment. Audiences will share the feeling.
  49. The pop diva goes down with the bubbles in this hopelessly shallow soap opera.
  50. Suffers from lulls and lapses and one lulu of a casting gaffe, but this keenly observant spoof of the fame game is hardly the work of a burnout.
  51. Guess what? It's almost bearable.
  52. Affleck is modest and engaging, which keeps the movie out of "Gigli" territory. But it's close.
  53. Disney deserves praise for raising the ante on its ambitions in animation. Next time, though, a little less civics lesson and a little more heart.
  54. Strains credulity at every turn.
  55. The code talkers deserved better than a hollow tribute.
  56. You leave Lady thinking there are still voices in Shyamalan's head well worth a listen.
  57. What a shame, though, that the movie isn't a livelier business.
  58. I'd see Tina Fey and Paul Rudd in anything, but this is pushing it. Admission is so slight that a breeze could flatten it.
  59. You long for things to go bump in the night, but the movie muffles every risk in a blanket of bland.
  60. Like the 2010 original, The Expendables 2 is all sound and fury signifying nothing, when at the very least it should add up to big, dumb fun.
  61. What should have been an affecting film becomes a rank blend of sentiment and sadism in the hands of Bruce Beresford, the Australian writer and director.
  62. Josh Lucas plays Haskins with a no-bull vigor that comes in handy when the script saddles him with all-bull platitudes.
  63. Paltrow looks glam even in death, which only supports the notion, raised by Plath’s daughter Frieda Hughes, that the movie would be about a "Sylvia Suicide Doll." Good call.
  64. There is one high note. You can approach Speed Racer as the trippiest stonerfest since Stanley Kubrick took his space odyssey.
  65. Open Range copies the rain and flood of the Clint Eastwood classic but can't match it for dark-night-of-the-soul brilliance.
  66. Pretty cast. Potent premise. Piss-poor execution. And so dies In Time.
  67. You leave Red Tails thinking of what might have been instead of what is – a missed opportunity.
  68. Self-importance sinks this one like a stone.
    • Rolling Stone
  69. An erotic thriller with flaws.
  70. Peet does it with a twinkle, finding class among the crass.
    • Rolling Stone
  71. The comic screenplay...pivots on a toothless premise: Russ needs to get in touch with his inner child.
    • Rolling Stone
  72. For the 148 minutes it takes "The Messenger" to deliver its message, being John Malkovich or Milla Jovovich is really no fun at all.
    • Rolling Stone
  73. 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?
  74. No dice...But no apologies are needed for Shannon--she earns her star spot.
    • Rolling Stone
  75. Quite a spectacle, but the movie falls flat.
    • Rolling Stone
  76. What started as cute becomes cloying and bloated. Charm should never feel like it weighs a ton.
  77. Alleged family fun.
  78. A product that will delight car junkies and drive cinephiles to swear off film until fall.
    • Rolling Stone
  79. Somehow, Lucille's plight is meant to comment astutely on the civil-rights movement. Now that IS crazy.
    • Rolling Stone
  80. Funny but perilously slight.
  81. Distressingly shallow.
    • Rolling Stone
  82. Hit-and-mostly-miss.
  83. Tries for deadpan laughs but is merely lifeless.
    • Rolling Stone
  84. Lawrence forgoes his knack for verbal comedy and replaces it with crude nonstop mugging.
  85. Ephron, try as she might, can't give her codified champagne spin to a Resnick script that all too quickly runs out of fizz.
    • Rolling Stone
  86. This new take on horror is more of the bloody same.
  87. (Shelton) knows how to write pungent dialogue that covers a multitude of sins when the film goes off the rails.
    • Rolling Stone
  88. The "Citizen Kane" of flatulence.
    • Rolling Stone
  89. Christensen is the only jolt of excitement in this turgid soap opera.
  90. Offers action in the Arnold Schwarzenegger style. Well, not right away.
    • Rolling Stone
  91. In story terms, Dinosaur lays an egg.
    • Rolling Stone
  92. Slim pickings.
    • Rolling Stone
  93. A sappy big-screen version of TV's "CSI."
  94. Shot five years ago by director Michael Ritchie. No release until now. Uh-oh. Disaster? Pretty much.
    • Rolling Stone
  95. 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.
  96. Built on a slender, one-joke whimsy -- and a tough one to buy into, at that.
    • Rolling Stone
  97. Director Regis Warginer ("Indochine") lets his film degenerate into a turgid melodrama.
    • Rolling Stone
  98. Tyler, a true beauty, gives the role a valiant try, but her range is too limited to play this amalgam of female perfection.
  99. Plays like an unholy union of "The Natural" and "The Prince of Tides." Too bad...Build a movie as a shrine to baseball and they will come. Suckers!
    • Rolling Stone
  100. Director Mike Barber springs a twist ending that makes you sit up and stifle those yawns.
    • Rolling Stone

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