Rolling Stone's Scores

For 2,806 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: 65
Highest review score: 100 Girl on the Bridge
Lowest review score: 0 Gloria
Score distribution:
2806 movie reviews
  1. How special.
    • Rolling Stone
  2. Things go wrong quickly with Amazing 2. Am I the only one who hates the word Amazing to describe a movie that isn't? Just asking. If I had to pinpoint where this epic goes south, I'd start with the tonal shifts.
  3. What begins brightly gets bogged down over 140 minutes. A film that took off like a hare on speed ends like a winded tortoise.
  4. Cate Blanchett is the spark that keeps this well-meaning but by-the-numbers biopic going.
  5. Duvall missteps in trying to mesh suspense with a love story that also involves the woman (Kathy Baker) John J. lives with and her young daughter (Katherine Micheaux Miller), on whom he disturbingly dotes.
  6. Some may enjoy the slapstick, which plays like "Harold & Kumar Go to Old Peking," but this bloodless Coen crib job is simply not my cup of noodles.
  7. By the time Fry lets darkness encroach on these bright young things, the fizz is gone, and so is any reason to make us give a damn.
  8. Funny? Sometimes. Scary? Almost never. PP&Z spins merrily and menacingly along for about half an hour. Bad luck that the movie's running time is 107 minutes.
  9. Hell, I really meant to at least like 2 Guns. But I couldn't. The movie just didn't make the extra effort.
  10. Killer Elite pretends to be fact-based and true to its 1980s period. Just know it's all baloney.
  11. Writer-director Andrew Niccol -- gets this Hollywood satire off to a rousing start. But the middle flattens, despite Pacino firing on all cylinders. And the end just nose-dives into something silly and, worse, sentimental.
  12. It's a gimmick, it's not a movie.
  13. Elliot fails to make the needed connection between the audience and a peeper who has lost his moral balance.
    • Rolling Stone
  14. Director Tony Goldwyn tries for the lyrical melancholy he brought to "A Walk on the Moon," but as Michael waits for days on Jenna's porch getting drenched (as irritating a scene as any in recent cinema), only the most rabid chick-flick fan will fail to notice that it's the movie that's all wet.
  15. The Rock has a flair for action and comedy; he's a real movie star.
  16. The film collapses because Lee can't sew these vignettes into a seamless tapestry. He's more interested in getting even than he is in getting it right.
  17. If you can't watch John Malkovich being John Malkovich, it's still a kick watching him play Alan Conway, a gay Brit who pretended to be the legendary and reclusive director Stanley Kubrick during the 1990s.
  18. In his sappiest film since 1989's "Always," director Steven Spielberg has come down with a case of the cutes that the whole cast catches.
  19. A frustratingly uneven satire with undeniably sharp teeth, isn't afraid to shoot comic darts at its targets until blood is drawn.
    • Rolling Stone
  20. It's unapologetic schmaltz, deftly directed by Gary Winick (Tadpole) as if it really meant something.
  21. With raw shock and a riveting Uma Thurman absent this time, Nymphomaniac: Volume II is a metaphoric limp dick.
  22. Miller's monochrome palette, splashed with color that shines like a whore's lip gloss, doesn't startle as it once did. It's like running into an ex-love and realizing that, damn, the thrill is gone.
  23. Remember "Limitless," the 2011 thriller in which Bradley Cooper becomes a whirling killer dervish from a drug that lets him access 100 percent of his brain? Well, Lucy is basically the same movie with Scarlett Johansson in the Cooper role. It's not a good trade-off.
  24. I never rooted for them as a couple, never felt a chemistry in their bond. And in a romance, even one with tragic notes, that really is the end of the world.
  25. Despite Bates' mastery at bringing unexpected depth to unhinged characters, Dolores is a few pints low on chills and challenge.
  26. After a lively start -- the sorority sisters, shaken by the slightest imperfection in themselves, cannot cope with handicapped athletes -- the film smooths its rough edges and reduces complex characters to sitcom stooges. Call it an opportunity missed.
  27. It's too bad. Jones deserved better than a biopic with a TV-movie heart.
  28. What a cast, indeed. And what a bust as persuasive drama.
  29. A dash of Tarantino might have juiced up Walter Salles' wrongheadedly well-mannered take on Jack Kerouac's 1957 Beat Generation landmark. Kerouac's semi-autobiographical novel comes to the screen looking good but feeling shallow.
  30. What you get in this cop drama is NYPD Blue lite. That's not bad. In fact, it's compulsively watchable. But there are no leaps, just fits and starts.

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