's Scores

For 3,086 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 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Animal Kingdom
Lowest review score: 0 Air Force One
Score distribution:
3086 movie reviews
  1. The singer Pink, also known as Alecia Moore, here plays Dede, one of the group’s only female members, and the connection between Dede and Neil, which at first stretches credibility to the breaking point, may be the best thing about “Thanks for Sharing.”
  2. Lee can't tell a story to save his life, but he's something of a visual magician, laying out glittering piles of goodies that you instinctively want to follow.
  3. W.
    It's when Stone engages in shameless editorializing -- when he lets his freak-flag point of view fly, rather than tempering it -- that W. is most entertaining and most vital. The rest of the time it feels too much like awards bait: stiff, arch and knowing.
  4. Wag the Dog is such a crisply delivered political satire, so packed full of wickedly amusing details and expertly modulated performances and with its heart so obviously in the right place that I really, truly wish I could tell you it was also a good movie.
  5. Maybe it's only half of what it could be, but at least it's a healthy half. And in this era of mainstream cookie-cutter moviemaking, that's a feat in itself.
  6. Roughly speaking, the characters in Kit Kittredge may be stereotypes, but they're stereotypes with soul. And they live in a very real place.
  7. This isn't an art house crowd pleaser along the lines of the 2006 "Paris, je t'aime," a freewheeling mixed bag of shorts made by the likes of Olivier Assayas, Wes Craven and Alfonso Cuarón. Tokyo! demands more patience, patience that it sometimes doesn't deserve.
  8. Fundamentally, it's a well-executed formula movie, perfect for first-date couples or miscellaneous group outings.
  9. 5x2
    In the end I respected 5x2 more than I loved it. As we move backward in time, the distance between audience and characters inevitably widens -- we know what's going to happen and they don't -- and I found the effect a little astringent.
  10. There's just not enough of Forster, who has a small role as Ford's work colleague and confidant. ..Sometimes star quality shines out from the corners of a movie, and not from the center.
  11. Director and co-writer Jonathan Glatzer handles his talented cast well, and the movie is dark, droll and sentimental in roughly the correct proportions. Worth a look.
  12. At times fun but mostly maddeningly uneven, Jay and Silent Bob Strike Back feels less like a full-fledged movie than a side project Smith took on to amuse himself and his buddies.
  13. Takes great pains to be a compassionate love story; but the filmmaking itself, self-consciously restrained and desiccated, is inert and inexpressive.
  14. In addition to possessing the most confusing title of the year, Canadian filmmaker Michael Dowse's high-energy dance-club saga It's All Gone Pete Tong arrives in an elaborate package of spoof and deception that should win the admiration of any practical-joke connoisseur.
  15. Everything about You, Me and Dupree, even the toilet humor, is tepid and rigorously inoffensive
  16. This movie isn’t terrible enough to derail the “Sherlock Holmes” star’s upward trajectory toward pop-culture domination, but Cumberbatch’s subtle and intriguing performance as the inscrutable Aussie loner behind WikiLeaks is surrounded by a plodding and minor melodrama that’s ludicrously ill suited to the material.
  17. Falls flat for its skittish reluctance to bear any resemblance to an actual Wes Craven film.
    • 53 Metascore
    • 50 Critic Score
    A pleasant but unimpressive experience.
  18. The film has an odd and striking energy, and the chemistry between Scodelario and Biel has an electrical charge to it. There are a couple of genuinely creepy moments, and Gregorini keeps us on an emotional knife edge.
  19. It's not a full-on go-for-broke love letter to rock 'n' roll or a broad, joyous spoof, but something stuck awkwardly in between.
  20. If there's any reason to bother with Meet the Fockers, it's to see Hoffman and Streisand.
  21. May be a weightless picture, but it's hardly torture to sit through. Just watch out for those angel rays.
  22. Sometimes stylish flashiness can be fun, and the movie does have a terrific, bleached-out, ice-blue look. But anyone who cares about what actors do has a right to be distrustful of a director who puts more emphasis on the look of his movie than on the performances.
    • 57 Metascore
    • 50 Critic Score
    Remains stubbornly one-dimensional. The gags are so resoundingly and innocently pre-adolescent that it's really hard to see how the film managed a PG rating.
  23. Stettner must be one of the luckiest and unluckiest debut directors in years, blessed with actors who both take the focus away from his limitations and wind up shining a spotlight on them.
  24. Fine actors do their damnedest to make this dumb movie look sharp.
  25. It has the kind of jumbled, pseudo-spectacular, overdecorated digital design that the eye and mind can’t really take in. Individual shots can be gorgeous, but there are just too damn many of them, and the overall experience is the visual equivalent of eating an entire wedding cake.
  26. Mystery Men is supposed to be an action comedy, but there isn't nearly enough of either.
  27. I'm not sure V/H/S is brilliant cinema or anything – indeed, I'm not sure it's appropriate to call it cinema at all – but it sure is an ingenious hybrid: part Godardian art film, part abstract video experiment, part sleazy shocker, and all self-castigating interrogation of what film-theory types call the "male gaze."
  28. To borrow a phrase from Pauline Kael, Intimate Strangers suggests bits of Alfred Hitchcock and bits of Woody Allen. But the wrong bits.

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