For 4,782 reviews, this publication has graded:
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48% higher than the average critic
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3% same as the average critic
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49% lower than the average critic
On average, this publication grades 2.7 points lower than other critics.
(0-100 point scale)
Average Movie review score: 59
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 2,324 out of 4782
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Mixed: 1,769 out of 4782
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Negative: 689 out of 4782
4,782
movie reviews
- By critic score
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Reviewed by
Scott Tobias 91
Gosling excels at playing contradictory characters like this one, having kick-started his career as a Jewish neo-Nazi in "The Believer," but here, his inner turmoil rarely gets vocalized. It's a remarkably subtle performance. -
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Reviewed by
Scott Tobias 91
Bujalski's brand of stylized dialogue sounds genuinely fly-on-the-wall. -
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Reviewed by
Nathan Rabin 91
There's a good chance that Judge's smartly lowbrow Idiocracy will be mistaken for what it's satirizing, but good satire always runs the risk -- of being misunderestimated. -
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Reviewed by
Nathan Rabin 91
Hartnett and co-star Scarlett Johansson--that most fatale of current filmic femmes--are naturals for this kind of noir-hued material, but the pairing of Ellroy and De Palma proves a marriage made in hardboiled heaven. -
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Reviewed by
Scott Tobias 91
Old Joy doesn't try for too much, but its subtle victories leave plenty to savor. -
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Reviewed by
Tasha Robinson 91
An indie version of Gondry's "Eternal Sunshine of the Spotless Mind," albeit with none of the star power, a quarter of the budget, half the angst, and twice the charm. -
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Reviewed by
Keith Phipps 91
Mirren begins the film having her portrait painted, looking every inch the monarch and proud to play the part. By the end, she's let the pressure of one week, and maybe a lifetime, show in her eyes. -
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Reviewed by
Keith Phipps 91
Almodóvar is still one of the few directors worth watching just for how he uses color on the screen. But the pleasures have always run much deeper, and now they run deeper still. -
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Reviewed by
Noel Murray 91
The first third of Iraq In Fragments is so intense--a masterpiece in miniature, really--that audiences may not have much emotion left for the rest. -
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Reviewed by
Tasha Robinson 91
It's a gorgeously rendered marvel that pulls out all the stops to wow its viewers, but in spite of its crowd-pleasing ploys, it holds onto its integrity with a smart and surprisingly deep story. -
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Reviewed by
Nathan Rabin 91
History Boys boasts a dazzling verbal cleverness--the gleeful rat-a-tat of snappy banter expertly executed--that doesn't keep it from also being deeply, exquisitely sad. -
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Reviewed by
Noel Murray 91
After two hours of dazzlingly fantastical images and stomach-turning gore, del Toro winds around, and finds his story's center. -
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Reviewed by
Noel Murray 91
The Case Of The Grinning Cat is a sequel of sorts to Marker's epic three-hour 1977 documentary on the decline of the left, "A Grin Without A Cat"--though this new work is both shorter and more playful. -
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Reviewed by
Nathan Rabin 91
The film begins like a Frank Capra movie--pure-hearted idealist takes on corporate fat cats against impossible odds and triumphs--but ends like a Shakespearean tragedy. -
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Reviewed by
Noel Murray 91
It's a sports film unlike any other, and a political film that makes the personal profound. -
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Reviewed by
Noel Murray 91
In the end, Black Book may be one of the most fun movies ever made about how people basically suck. -
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Reviewed by
Nathan Rabin 91
White's gently perceptive film is a funny, poignant, emotionally honest minor-key character study. -
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Reviewed by
Nathan Rabin 91
Everything an action-comedy should be. It achieves through parody what most films in the genre can't accomplish straight. -
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Reviewed by
Noel Murray 91
Like the best crime stories, this one isn't about how the bad guys live, it's about how WE live. -
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Reviewed by
Keith Phipps 91
The power to provoke may not always have a smoke-to-fire relationship with greatness but with Scorsese's film, a testament of faith that leaves in the question marks, it undeniably does. -
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Reviewed by
Noel Murray 91
Porumboiu starts off making a mordant slice of life, but he gradually entwines the personal and the historical, then ends on a poignant note. The story and situation are slight, but in the best possible way. -
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Reviewed by
Noel Murray 91
Grease is a pure pop construct, fueled by movie-star poses, hit songs, and persistent audience fantasies of being an acceptable kind of "bad." Barry Gibb-penned disco theme aside, Grease doesn't really belong to any one era. It's like it's always existed. -
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Reviewed by
Tasha Robinson 91
Bird and his co-writers leave room for quiet moments and gentle morals, but for the most part, they send visual gags and verbal punchlines tearing past at an enjoyably demanding speed, whipping up the film's energy at every turn. -
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Reviewed by
Scott Tobias 91
Damon's minimalist style is key to why the Bourne movies have become an oasis from other blockbuster action fare. -
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Reviewed by
Tasha Robinson 91
A compelling, well-researched, beautifully assembled document. -
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Reviewed by
Keith Phipps 91
Gordon's feature directorial debut mostly stops being about video-game obsession and turns into a film about what it takes to make it in America. -
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Reviewed by
Scott Tobias 91
There's a bittersweet quality to McCandless' story that Penn captures intuitively. -
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Reviewed by
Noel Murray 91
When others can't see what parents see, there's an inescapable ache. As much as anything, My Kid Could Paint That is about that ache. -
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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. -
