Rolling Stone's Scores

For 2,767 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 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Gravity
Lowest review score: 0 Vampire Academy
Score distribution:
2767 movie reviews
  1. It's not just that Jennifer Lopez looks lost and out of her league acting with Robert Redford and Morgan Freeman. That's to be expected. It's the drag-ass solemnity of this turgid family drama that makes you crazy.
  2. The actors do what they can to keep their heads above the sudsy script. No go. It’s distressing to see a great subject go wrong in the right hands.
  3. Irresistibly deranged.
    • Rolling Stone
  4. Rob Marshall's flawed but frequently dazzling Nine is a hot-blooded musical fantasia full of song, dance, raging emotion and simmering sexuality.
  5. Fleischer isn't much on details. It's all about the zigzagging rush of the ride. Fair trade.
  6. Soul Men is a chance to salute these masters of mirth and music. Take it.
  7. "Paranormal Activity" has been here before, of course, but Silent House springs tangy new tricks, and Olsen is a primo scream queen.
  8. Quick and the Dead plays like a crazed compilation of highlights from famous westerns. Raimi finds the right look but misses the heartbeat. You leave the film dazed instead of dazzled, as if an expert marksman had drawn his gun only to shoot himself in the foot.
  9. 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.
  10. Director Michael Hoffman sprays on the tears like a toxic mist. Avoid like the plague.
  11. The film belongs to Phoenix ("To Die For"), who is terrific. He has the gift, shared with his late brother, River, of conveying emotions without pushing them at you. The delicacy of his scenes with Tyler lets you enjoy the film for what it truly is: a heartbreaker.
  12. Alleged family fun.
  13. 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.
  14. As a movie, Gold is slim pickings. But McConaughey keeps you riveted.
  15. There’s enough here for half a dozen movies, and you can feel the severe overcrowding. But you can't keep your eyes off it.
  16. What's onscreen feels squeezed, truncated and curiously embalmed. It's got no kick to it.
  17. A cheerless exercise.
    • Rolling Stone
  18. Walken is so funny, he almost makes you forget this flick is one joke stretched thinner than Calista Flockhart.
  19. If you can't see where this is going, you've probably never seen a movie before. But the script plods on, complete with an ending that futilely tries to tidy up the scenario strands. Miraculously, Aniston maintains our rooting interest.
  20. What nearly saves the movie, besides the Rasmussen eye candy, is Paris itself, shot in shimmering black-and-white by the gifted Thierry Arbogast. Talk is cheap here, and often inane, but as a silent film, Angel-A could have been magic.
  21. Run, Fat Boy, Run stays out of sitcom quicksand long enough to make you think that Schwimmer has a knack for this comedy-directing thing.
  22. No more than a beguiling trifle. But in the dog days of summer, it's a perk to wallow in inspired silliness.
  23. Is there an audience for this? Sadly, yes. There’s nothing wrong with a movie that cheers American heroes. But this one does so by reducing everything else to cardboard.
  24. How did talent like this conspire to pump out such bilge? I mean, really.
  25. As the film stopped counting back in years and switched to months, I panicked that it would slog on to weeks, hours and seconds before reaching its inevitable end. I was wrong. About A Lot Like Love leaving you wanting a lot less, I am right.
  26. Director Gillian Armstrong turns Sebastian Faulks' pungent novel about World War II into a soporific.
  27. Distressingly shallow.
    • Rolling Stone
  28. Something cold and mechanical has seeped into the sequel. The divas push so hard for fun, it kills the spontaneity that fun needs to breathe.
  29. So the sequel, A Game of Shadows, is more of the stupid same. It wouldn't matter so much if Downey and Jude Law, as the bromantic Dr. Watson, didn't look so ready to turn on the cerebral dazzle. Instead, Ritchie treats them like action goons out of his "Lock, Stock and Two Smoking Barrels" basement.
  30. Satire in a blanket of bland.

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