For 4,823 reviews, this publication has graded:
-
48% higher than the average critic
-
3% same as the average critic
-
49% lower than the average critic
On average, this publication grades 2.6 points lower than other critics.
(0-100 point scale)
Average Movie review score: 59
| Highest review score: |
Critic Score
100
|
|---|---|
| Lowest review score: |
Critic Score
0
|
Score distribution:
-
Positive: 2,347 out of 4823
-
Mixed: 1,785 out of 4823
-
Negative: 691 out of 4823
4,823
movie reviews
- By critic score
-
-
Reviewed by
Scott Tobias 91
Though its procedural goes a little soft in the middle, Gone Baby Gone quietly accumulates in power, leading to one of the more subtly devastating final shots in recent memory. -
-
-
Reviewed by
Tasha Robinson 91
Schnabel's sleepy, drifty, at times morbidly funny film tackles something more ambitious, by getting into the head of someone who's trying to get out of there himself. -
-
-
Reviewed by
Scott Tobias 91
After Hours is a caffeinated black comedy with an emphasis on speed. With a small crew and a tight shooting schedule, Scorsese transformed limited means into a staccato burst of creative energy, playing up the extreme paranoia and frustration of a data processor stranded in Soho. -
-
-
Reviewed by
Keith Phipps 91
The generous, sharp performances, especially Garai's, deepen the story's emotional impact, as does Wright's assured, frequently astounding direction. -
-
-
Reviewed by
Noel Murray 91
The two main points Persepolis makes are that strife is relative, and all politics are personal. -
-
-
Reviewed by
Keith Phipps 91
It puts human faces on the victims of mass destruction, faces that might easily have been yours or mine, staring down the maw of something we don't understand. -
-
-
Reviewed by
Noel Murray 91
Woman On The Beach is a stripped-down, witty explication of how we all get stymied by the impulses and options inherent in the simple act of living. -
-
-
Reviewed by
Tasha Robinson 91
When it's funny, it's hilarious; when it's serious, it's powerful; and either way, it's an endless pleasant surprise. -
-
-
Reviewed by
Keith Phipps 91
It's a film assembled from moments out of time, destined forever to weigh down the boy at their center. -
-
-
Reviewed by
Nathan Rabin 91
Stop-Loss is a human story first and foremost, and Peirce and her stellar young cast ensure that the message never gets in the way of the storytelling. -
-
-
Reviewed by
Tasha Robinson 91
The film unravels a bit in the last few moments, amid unanswered story questions and a simplistic climax, but until that moment, Redbelt is Mamet's richest film of the decade. -
-
-
Reviewed by
Tasha Robinson 91
It's the most glorious, wonderful mess put onscreen since Terry Gilliam's "Brazil." -
-
-
Reviewed by
Noel Murray 91
How can a freethinking father mandate his ideals without violating them? Pray covers it all, and movingly so. -
-
-
Reviewed by
Scott Tobias 91
It isn't particularly original--for one, it owes an unacknowledged debt to the French film "Them"--but as an exercise in controlled mayhem, horror movies don't get much scarier. -
-
-
Reviewed by
Tasha Robinson 91
Yet another celebrity-voiced animal adventure, but it stands out from the crowd of similar films with its lightning wit and whirlwind brio. -
-
-
Reviewed by
Scott Tobias 91
It's a righteously nasty piece of work, and a rare example of a movie that traffics in B-movie grime without a trace of "Grindhouse"-style self-consciousness. -
-
-
Reviewed by
Noel Murray 91
Maddin talks at length about Winnipeg's hidden layers, but what makes My Winnipeg perhaps his best film to date is that so much of it is right out in the open. -
-
-
-
Reviewed by
Noel Murray 91
Full Battle Rattle works just fine as a two-fisted combat story, with unexpected bursts of violence peppering that old universal message that war is hell. -
-
-
Reviewed by
Nathan Rabin 91
Trumbo sexes up Trumbo's already dramatic story with a massive infusion of star power. -
-
-
Critic Score 91
It's rare to find a work that explores issues of faith without veering into religious fundamentalism or militant atheism, which is reason enough to revisit Brideshead one more time. -
-
-
Reviewed by
Nathan Rabin 91
In a masterful performance, Langella highlights Nixon's oily charm and guile. -
-
-
Reviewed by
Tasha Robinson 91
Slumdog Millionaire features the simplest story Boyle has ever told, which may explain why its many pleasures are so pure. -
-
-
Reviewed by
Tasha Robinson 91
Kross and Winslet's intense performances and Daldry's deliberately placid control of tone make the material work as a love (and hate) story as well as a metaphor. -
-
-
Reviewed by
Scott Tobias 91
Having the dog around raises the emotional stakes tenfold, and develops a kinship with Vittorio De Sica's Italian neo-realist classic "Umberto D.," which also revealed societal ills through a poignant dog-owner relationship -
-
-
Reviewed by
Keith Phipps 91
In both halves, Soderbergh emphasizes observation over ideology with an eye toward the mundane details of life on the front lines of a revolution. -
-
-
Reviewed by
Scott Tobias 91
The beauty of The Class is that it puts the lie to the one-teacher-can-make-a-difference myth propagated by so many other films. -
-
-
Reviewed by
Scott Tobias 91
Gomorrah takes place in a world where decency can't take root and we can only watch in horror as crime overwhelms society's most vulnerable-- women, children, law-abiding citizens, and the conscientious few who want to get out of the game. -
-
-
Reviewed by
Nathan Rabin 91
Jesse Eisenberg stars as a kinder, gentler version of the insufferable faux intellectual he played in "The Squid And The Whale." -
-
-
Reviewed by
Noel Murray 91
Yet in his despair, there's something Kudlow misses, and it's what makes Anvil! as moving as it is hilarious. -
