's Scores

For 3,070 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Hamlet
Lowest review score: 0 Identity Thief
Score distribution:
3070 movie reviews
  1. This film is never less than pleasant to spend time with, and that’s not a minor consideration when it comes to summer moviegoing.
  2. Well-enough made and highly watchable, but it lacks the one thing that would put some swing in its step and some swagger in its attitude: a sense of jazz.
  3. Follows a consistently predictable arc. In some sequences, you can tell not just what's going to happen next, but what shot is coming next. And the movie's weird mixture of moralism and affectlessness cancel each other out.
    • 64 Metascore
    • 60 Critic Score
    Citizen Ruth takes such pains not to take sides that it doesn't have any fun. Each faction gets the same amount of screen time, yells at the same volume, is equally unpleasant.
  4. For me, the meticulous style, the fascination with ritualized (and ludicrous) violence and the film-geek self-referentiality all seem like markers of a film made by a young man, for other young men. If I were 23, and full to the brim with dark-hearted existentialism, I might love it too.
  5. Almost all of the movie's romantic lunacy is too calculated and sly; the picture never quite sweeps us away.
  6. Undone by simply trying too hard.
  7. When one of the young women Vera attends to nearly dies of complications, the police arrest her -- and the movie goes thud, taking Staunton's performance along with it.
  8. As a story of courage and personal growth, The Guardian is perfunctory, a saga of character building that could (and may, advertently or otherwise) serve as a Coast Guard recruitment vehicle. But it's far more interesting as a tale of two faces: Kutcher and Costner have a kind of visual chemistry that's just as elusive as the other kind. And the connection and contrast between them remind us that Hollywood isn't as forgiving of older male actors as we like to think.
  9. Arguably, A Girl Cut in Two is more fun around the edges, as an assemblage of bizarre supporting characters and throwaway comic bits, than it is down the middle, as a classic French morality tale.
  10. Unwieldy, long-winded, self-indulgently nutso and, in places, very, very boring. It also caps off its two-and-a-half-hour run time with an extended finale – partially orchestrated to David Bowie's "Cat People" theme song, no less – that I could watch again and again with pleasure
  11. This is an ambling, relaxed talking-head docu in the grand European style.
  12. The surprise of Anatomy of Hell is that Siffredi's character is ultimately more vulnerable than the woman
  13. Live Flesh isn't terrible. It's accomplished and watchable.
  14. In its quest to create "wholesome" entertainment, the movie industry is furiously turning back the clock four decades or so, to the days when men were men, girls were cute but knew their place and pencil-necked Poindexters stayed out of your damn face.
  15. My eyes never left the screen and my attention never wandered; in a restricted, technical sense of the term, Kidnapped is a masterpiece. But I make no claims for its moral value or for any cathartic or redemptive qualities.
  16. A chaste, lively and mildly goofy romance to dispel the winter blahs.
  17. Zbanic is such an acute observer of women's lives in their intimate details, and constructs such fine scenes, that I think this might be the best film to emerge from the aftermath of the Balkan conflict.
  18. A fever dream about an aging, grasping, neurotic artist who brings his disastrous personal life, thinly veiled, into his work and ends up as a grotesque caricature of himself, alienating everyone who ever loved him.
  19. There’s enough unfulfilled possibility in True Story to make it an intriguing introduction to this story of deception and self-deception, but the balance between true-crime cable soap and the darker, richer layers of Franco’s performance never quite adds up.
  20. At the risk of retreating into Waffle House aesthetic relativism, I think the unsettling power of Michael Winterbottom and Mat Whitecross' film stems from its contradictions.
  21. Just doesn't give us enough to hold onto, perhaps partly because it's executed with so much restraint and subtlety. It's often a tense, uncomfortable little movie.
  22. About midway through Denzel Washington's new film The Great Debaters comes a raw and terrifying scene that exemplifies why the movie's worth seeing, despite its hackneyed and awkward story.
    • 55 Metascore
    • 60 Critic Score
    Uneven as Capital is, unlike so many films about capitalism it’s never boring and is unafraid of its point of view.
  23. Ben Affleck is smart about setting the scene -- he's even better at it than Clint Eastwood was in another Lehane adaptation, "Mystic River." But he's less adept at defining individual personalities, at making us care about the characters who deserve our sympathy -- or, maybe more important, the ones who don't.
  24. At its best, State and Main is fast and sharp, but when a movie like this goes off the rails, it's more disappointing than when a bad movie does.
  25. If you boil the psychology of Collateral down to its essence, what you get, mostly, is Vincent badgering Max for not having enough chutzpah -- in essence, for not being enough of a tough guy.
  26. I never stopped being interested in The Place Beyond the Pines, and never stopped rooting for Cianfrance to make the hubristic ambition of his immense tripartite scheme pay off, even as it evidently falls apart.
  27. Yes
    For the most part Yes buzzes with visual life and imagination.
  28. The Last Kiss is more a capable-craftsman film than a work of genuine dramatic insight, but here and there it opens a window onto the terror and wonder of grown-up life, one its characters don't especially want to look through.

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