Rolling Stone's Scores

For 3,021 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 The Snapper
Lowest review score: 0 Ghost Rider: Spirit of Vengeance
Score distribution:
3021 movie reviews
    • 74 Metascore
    • 38 Critic Score
    Stone calls this bile satire. But satire takes careful aim; Killers is crushingly scattershot. By putting virtuoso technique at the service of lazy thinking, Stone turns his film into the demon he wants to mock: cruelty as entertainment.
  1. A triumph for the machines, more proof that we do indeed live in the Matrix.
  2. A two-hour search for a pulse... A miscalculation from a prodigious talent who has forgotten that you squeeze the life out of romance when you don't give it space to breathe.
  3. 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.
  4. The film wants to make a case for Parker as the first modern woman. It gets the look and the attitude right, but it can't find her heart.
  5. Even the stalwart Nolte drowns in the laughable idiocy of the Wingo-Lowenstein love affair, which lifts Tides to the fiasco class.
  6. Even with sex, drugs, hip-hop and a murder, these four stories are dull, dull, dull, dull.
    • Rolling Stone
  7. Regrettably, Bergman can't do much with a one-note script by Jane Anderson that reduces Perez to a grating cliché, Cage and Fonda to a parody of Ken and Barbie and our interest in what could happen to them to dry ash.
  8. Even director Carl Franklin, an artful purveyor of sterner stuff in "One False Move" and "Devil in a Blue Dress," can't prevent One True Thing from descending into chick-movie hell.
  9. A fine case ... but none weighty enough to keep this fluff from evaporating as you watch it.
    • Rolling Stone
  10. From the lowercase lettering of the title to the deadly familiarity of the plot, there is much to grate on your nerves in this TV Afterschool Special trying to pass as a real movie.
  11. The result is a failed and lifeless experiment in which everything goes wrong.
  12. Veering between sentimentality and exploitation with a few misguided stops at raunchy sex farce, Reign Over Me never finds a tone to suit its purpose.
  13. We're getting more of the same, but less of the impact, like weed from a bad dealer.
  14. A clumsy package of clichés.
  15. What Dick rendered potent, Nolfi renders preposterous.
  16. The movie, however, is a crock.
  17. Rob Cohen, who last directed "The Skulls" --ouch! -- can consider this one another career-killing skid mark.
  18. Director Sydney Pollack zapped out a taut thriller in "Three Days of the Condor". But The Firm is mostly flab, in the manner of Pollack's elephantine Havana.
  19. It's not so bad that it's good. It's so bland that it's boring. Not even worth a hissss.
  20. Grating.
  21. Drab in the extreme. Timothy Dalton's second and wheezing, final turn as 007 was barely recognizable as a Bond film.
  22. Whatever qualms you might have about romanticizing mental illness, the misguided Benny and Joon thinks it's just darling.
  23. To be honest, I started hearing things, too. Just when Jones was delivering an inexcusably sappy speech about baseball being "a symbol of all that was once good in America," I heard the words "If he keeps talking, I'm walking."
  24. This afternoon-TV special trying to pass as a real movie earns an extra half star solely for Samuel L. Jackson, who brings his usual fire to the role.
  25. If you're gay and/or eight years old, HSM3 is the movie event of the year.
  26. It's not the trite talk that sends Cruel Intentions into a tailspin, it's the lightweight casting.
  27. Derivative and blindingly dull, Quick Change is an occasion for a quick nap.
  28. 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.
  29. CQ
    Writer-director Roman Coppola is trying to capture a time he's too young to remember, when the French New Wave reinvigorated film art.

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