For 4,997 reviews, this publication has graded:
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49% higher than the average critic
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3% same as the average critic
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48% lower than the average critic
On average, this publication grades 2.5 points lower than other critics.
(0-100 point scale)
Average Movie review score: 59
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Score distribution:
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Positive: 2,432 out of 4997
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Mixed: 1,854 out of 4997
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Negative: 711 out of 4997
4,997
movie reviews
- By critic score
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- Critic Score
As the story unfolds, carefully and elaborately, what develops is not just a remarkably intricate crime tale but a brilliant and compassionate story of people who struggle to rise above their flawed nature. This may be the best movie of the year; it's definitely one of the greatest crime films of all time. -
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Reviewed by
Keith Phipps
It's all presented in a detached style that's ultimately much more moving and truthful than any heartstring-slashing weeper. This may be Egoyan's best work yet, and it's surely one of the best films of the year. -
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Keith Phipps
What makes Towers so staggering is the way it brings the full scope of Jackson's adaptation into focus. Without missing a beat in three hours, the film shifts from epic to lyrical and back. -
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Scott Tobias
Conceptually bold and rapturously beautiful Gerry, a minimalist landscape film that's unlike anything on the American independent scene. -
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Keith Phipps
Unchecked goodness has its price, after all, and childhood wonder wouldn't be nearly as sweet if it didn't fade. That may explain the film's appeal. It trapped that feeling, and its sense of possibility, in amber -- then, now, and for any time. -
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Keith Phipps
While it's very funny, Boogie Nights taps into something much deeper with its on-target depiction of the shifting political and social tides of the '70s and '80s and thoughtful relationships between characters. It's a deeply satisfying movie. -
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Writer/director Neil LaBute has taken the gender-issues film into uncharted, almost inhuman territory with this malevolently perfect exploration of male cruelty. -
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Reviewed by
Nathan Rabin
Part of Spielberg's skill as a filmmaker comes in choosing the right collaborators. Janusz Kaminski's gorgeous cinematography, Michael Kahn's graceful editing, Jeff Nathanson's clever script, and John Williams' score all work well in unison, but the film's masterstroke is the casting of Walken as DiCaprio's utterly decent father. -
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Nathan Rabin
Above all a masterpiece of sustained tone, a tightrope act that pays off in rich and unexpected ways. -
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Heartbreakingly beautiful film, a brilliant adaptation of Michael Ondaatje's equally beautiful novel, is a sort of Casablanca for our time. -
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Keith Phipps
The film finds a surprising amount of tenderness and humor beneath the brutality. The laughs may catch in the throat, but that's only a byproduct of City Of God's power to leave viewers breathless. -
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Keith Phipps
An excellent movie, as effective in battle scenes as it is in that of soldiers ruminating on an Edith Piaf song. -
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Scott Tobias
Kaufman strikes just the right balance between playfulness and sincerity, leaping freely from one absurd situation to another before pulling back on the reins. -
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Keith Phipps
At once a devastating condemnation of war and an exciting action film...The additional running time only adds to Petersen's masterfully bleak, claustrophobic atmosphere. Das Boot is by no means a pleasant experience, but it's an intelligent and emotionally gripping one that you won't forget. [Director's Cut] -
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The numerous, extended revival scenes are amazing, with Duvall a dynamo of divine energy and devout dedication. -
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Nathan Rabin
The film succeeds by expertly melding the two stages of Tarantino's career. The rambling Tarantino of "Jackie Brown" and "Pulp Fiction" is evident in every lovingly crafted and delivered monologue, each leisurely paced scene and long take. The more action-oriented, fight-intensive Tarantino reappears in the viscerally exciting bursts of ultra-violence that punctuate the stretches of dialogue. -
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Nathan Rabin
The filmmakers smartly counter heavy drama with goofy comedy, mining a rich vein of humor in the juxtaposition of the mundane and the superheroic. Maguire and Molina excel at opposite ends of the moral spectrum, but the film is stolen once again by J.K. Simmons. -
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Scott Tobias
Virtually every Super Technirama frame of Luchino Visconti's 1963 masterpiece The Leopard could be described as "painterly" in its ornate details and exquisitely balanced color compositions. (Review of DVD Release) -
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Keith Phipps
A rousing, reverent, often brilliant re-creation of a seminal comics character, Batman Begins proves Batman is at home in the 21st century as he was in the 20th. -
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Tasha Robinson
For Kaige, The Promise can't exactly be called a return to form--it's more a return to "Hero" and "House Of Flying Daggers" director Zhang Yimou's form. Either way, it's still glorious. -
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Keith Phipps
It's hard to film icons like Young as anything BUT icons, but Demme's film gets past the legend, zooming in on Young's aged, heroic face and finding an artist as human as the rest of us. -
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Noel Murray
L'Enfant is intended as a pointed critique of pop culture's celebration of arrested adolescence. The title could refer to Renier's baby, Renier himself, or even the gang of schoolboy robbers that he's gathered around himself. -
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Tasha Robinson
The King's perception of religion is hardly friendly, but it's only one aspect of a terrific drama, one that ultimately admits that people can be as much of a terrifying mystery as their creator. -
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Scott Tobias
When a director of Scorsese's caliber is working at the top of his game, it's a reminder of why we go to the movies in the first place. -
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Keith Phipps
It's a heartbreaking, bullet-strewn valentine to what keeps us human. -
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Scott Tobias
Zodiac is the rare serial-killer movie in which the psychosis stems as much from the pursuers (and the filmmaker) as the pursued. -
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