's Scores

For 3,063 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Selfish Giant
Lowest review score: 0 From Justin to Kelly
Score distribution:
3063 movie reviews
  1. This little knockout of a movie, written and directed by Robert Duvall -- who also plays the title character, a roving Texas evangelist -- can strike you in the same way that Bible stories did when you first encountered them as a child.
  2. There's no doubt that Kill Bill is an epic, and no doubt of the skill that's often apparent. But what it leaves us with is awesomely trivial.
  3. 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.
  4. A tightly constructed drama that will keep you on the edge of your seat.
  5. Highly compelling, if overlong and overwrought.
  6. A rip-roaring feminist yarn that should offer relief to viewers anxious for an alternative to the boys-with-guns flicks of summer.
  7. Tyson does succeed in humanizing a deeply troubled individual who has been depicted as an almost animalistic stereotype of African-American manhood.
  8. An inexpressibly beautiful and moving film, even though (or because) it seems to be about someone unimportant doing something irrelevant, perhaps something silly, in the face of insurmountable odds and a world that doesn't care.
  9. If possible, Roberts' movie-within-a-movie is even more amazing than it sounds. She captures a tale of courage, heroism and tragedy more thrilling than any Hollywood spectacle.
  10. It Follows pretty much earns its buzz as the scariest and best-engineered American horror movie of recent years, and that’s all down to Mitchell’s sophisticated understanding of technique and the trust and freedom he accords his youthful cast.
  11. The picture throws off no feeling, not even the misanthropic kind; at best, it manages a dull, throbbing energy, as if Burton were dutifully pushing his way through the material instead of shaping it.
  12. The most original, daring, thrilling movie to be released this year, Trainspotting is one of those occasional, astonishing triumphs of risk and imagination that gets you excited about what smart people, pushing themselves and the medium, can accomplish in the movies.
  13. For the most part, 20,000 Days on Earth – the approximate amount of time Cave has been alive on this planet – is an imagistic and impressionistic work, a Nick Cave-esque tone poem driven by moments of visual and thematic juxtaposition you either have to reject or accept.
  14. Wickedly funny, an ode to youthful overachievers that's as blackhearted as "Rushmore" was gently sentimental.
  15. Venus belongs to O'Toole. This is, hands down, my favorite performance of the year, largely because I love the way O'Toole (and the filmmakers) refuse to yield to the all-too-pervasive idea that it's "icky" for old people to even think about sex.
  16. A remarkable accomplishment, a swirling, choral sea of humanity that forces us to confront that a man who does terrible things can also be a loving father who gives his infant daughter a bath.
  17. Franco is up to every bit of Boyle's challenge, capturing Aron's transition from clownish outdoorsman and party boy to an introspective chronicler of his own impending demise and a visionary lunatic.
  18. Crisply and competently filmed, Tell No One is an intriguing sample of new-school French cinema at the more commercial end of the spectrum.
  19. Amid the infoglut that surrounds us, Gibney's film feels too much like more noise. Is it telling the most important business story of our lifetimes, or is it just another fantastical yarn, crammed into the schedule after Scott and Laci Peterson, but before Charlemagne and the ancient Peruvian astronauts?
  20. Tsai Ming-Liang always makes you feel that there's a world of life beyond his movies -- a world populated by ghosts that are as real as we are.
  21. Intelligent, visually rich filmmaking.
  22. Weisz has never been better: She's joyously expressive and alive, but there's gravity beneath that milkmaid complexion. She's grounded even when she's being flirtatious. And Fiennes has never been more moving.
  23. It’s both a compelling group melodrama built around an appealing young cast and an immersive introduction into a social reality many of us haven’t thought about.
  24. A moving, surprising and provocative baseball flick that rises immediately to No. 1 with a bullet on my personal list.
  25. Florid, passionate, frequently hilarious and loaded with messy emotions that nobody in his or her right mind should even attempt to explain, it's operatic in its nutball intensity.
  26. Blissful, blazingly intelligent adaptation.
  27. Birds are not just the movie's stars, but its whole universe. They inspire in Perrin and his crew, and in us, not just awe but humility. You'll never look at them the same way again.
  28. Has so much going for it -- including intelligent performances that mesh beautifully, and a keen understanding of how seemingly small moments can rattle the foundations of families -- that you walk away from it feeling it should add up to more.
  29. In its cornball "Let's put on a show!" crudeness, its Cuisinart collapsing of rock history, and its reduction of the ambiguous, libidinal revolt led by Elvis and Mick and Johnny Rotten and Kurt Cobain to the level of pampered middle-school posturing, School of Rock is a clever and sometimes a beautiful thing.
  30. An affectionate, exuberant picture that seeks to bring even those who don't know Klingon from Portuguese into the embrace of a pop-culture phenomenon.

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