For 8,156 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 2.9 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: 3,636 out of 8156
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Mixed: 3,390 out of 8156
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Negative: 1,130 out of 8156
8,156
movie reviews
- By critic score
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Reviewed by
Elvis Mitchell 100
This is his sleekest and most engaging film thus far. If you like a good cat-and-mouse game with a keen ear for language, then go. -
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Reviewed by
Dana Stevens 100
I realize that the fear of contracting writer's block from a fictional character is crazy, but in the brilliantly scrambled, self-consuming world of Adaptation it has a certain plausibility. -
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Reviewed by
Dana Stevens 100
It's surely the best depiction of teenage eccentricity since "Rushmore," and its incisive satire of the boredom and conformity that rule our thrill-seeking, individualistic land, and also its question-mark ending, reminded me of "The Graduate." -
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Reviewed by
Dana Stevens 100
It rediscovers the aching, desiring humanity in a genre -- and a period-- too often subjected to easy parody or ironic appropriation. In a word, it's divine. -
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Reviewed by
Stephen Holden 100
Ms. Kidman, in a performance of astounding bravery, evokes the savage inner war waged by a brilliant mind against a system of faulty wiring that transmits a searing, crazy static into her brain. -
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Reviewed by
Dana Stevens 100
Mr. Guest and Mr. Levy's jokes are sometimes so subtle as to seem imperceptible, until you realize that they are everywhere, from the broadest gestures to the tiniest details of dress and décor. -
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Reviewed by
A.O. Scott 100
Here he (Murray) supplies the kind of performance that seems so fully realized and effortless that it can easily be mistaken for not acting at all. -
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Reviewed by
Janet Maslin 100
Brazil may not be the best film of the year, but it's a remarkable accomplishment for Mr. Gilliam, whose satirical and cautionary impulses work beautifully together. His film's ambitious visual style bears this out, combining grim, overpowering architecture with clever throwaway touches. -
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Reviewed by
Dana Stevens 100
Mystic River is the rare American movie that aspires to -- and achieves -- the full weight and darkness of tragedy. -
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Reviewed by
A.O. Scott 100
You won't come out unaffected, because the depths of intimacy that the Mexican director Alejandro González Iñárritu plumbs here are so rarely touched by filmmakers that 21 Grams is tantamount to the discovery of a new country. -
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Reviewed by
Dana Stevens 100
Stupendously entertaining. -
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Reviewed by
Dana Stevens 100
Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle. -
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Reviewed by
Stephen Holden 100
In what has been called the Year of the Documentary, "My Flesh and Blood" stands beside "Capturing the Friedmans" and "The Fog of War" as an unforgettable experience. -
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Reviewed by
A.O. Scott 100
It's been a long time since a commercially oriented film with the scale of "King" ended with such an enduring and heartbreaking coda. -
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Reviewed by
Stephen Holden 100
If there's one movie that ought to be studied by military and civilian leaders around the world at this treacherous historical moment, it is The Fog of War, Errol Morris's sober, beautifully edited documentary portrait of the former United States defense secretary Robert S. McNamara. -
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Reviewed by
Vincent Canby 100
The entire film is played at such high pitch it may well exhaust audiences that don't come prepared. And, at the heart of the film, there is the mystery of Jake himself, but that is what separates Raging Bull from all other fight movies, in fact, from most movies about anything. Raging Bull is an achievement. -
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Reviewed by
Vincent Canby 100
Mr. Allen's most securely serious and funny film to date. -
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Reviewed by
Vincent Canby 100
One of the most deliriously funny, ingenious and stylish American adventure movies ever made. -
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Critic Score 100
Meaningful in its implications, as well as loaded with interest and suspense, High Noon is a western to challenge “Stagecoach” for the all-time championship. (Review of Original Release) -
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Critic Score 100
A brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary upon the tragedy of the overcivilized. (Review of Original Release) -
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Reviewed by
Vincent Canby 100
The reason the film prompts laughter, and finally elation, is not because it's jolly or has any feel-good words to live by. It's because of the utterly demonic skill with which these foulmouthed characters carve one another up in futile attempts to stave off disaster. -
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Reviewed by
Dana Stevens 100
Surely the best movie yet made from Mr. Irving's fiction. It may even belong in the rarefied company of movies that are better than the books on which they are based. -
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Reviewed by
Elvis Mitchell 100
Gratifyingly complex and beautifully told, this tale explores a huge array of cultural, racial, economic and familial tensions. In the process, it also sustains strong characters, deep emotions and clear dramatic force. -
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Reviewed by
Stephen Holden 100
Sustains a documentary authenticity that is as astonishing as it is offhand. Even when you're on the edge of your seat, it never sacrifices a calm, clear-sighted humanity for the sake of melodrama or cheap moralizing. -
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Reviewed by
Dana Stevens 100
To skip Moolaade would be to miss an opportunity to experience the embracing, affirming, world-changing potential of humanist cinema at its finest. -
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Reviewed by
Stephen Holden 100
Bad Education is a voluptuous experience that invites you to gorge on its beauty and vitality, although it has perhaps the darkest ending of any of the films by the Spanish writer and director. -
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Reviewed by
Manohla Dargis 100
As he (Wong Kar-wai) floods the screen with beauty and fills the soundtrack with hypnotic rhythms, he forges a filmmaking style of incomparable eroticism. -
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Reviewed by
Dana Stevens 100
With its careful, unassuming naturalism, its visual thrift and its emotional directness, Million Dollar Baby feels at once contemporary and classical, a work of utter mastery that at the same time has nothing in particular to prove. -
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Reviewed by
Dana Stevens 100
Neither the neighborhood intimacy of "Mean Streets" nor the grandeur of the "Godfather" movies is imaginable without Visconti's example. Its richness, though, is inexhaustible, and well served by the spotless new 35-millimeter print being shown at Film Forum. -
