For 8,141 reviews, this publication has graded:
-
49% higher than the average critic
-
3% same as the average critic
-
48% lower than the average critic
On average, this publication grades 2.8 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: 3,629 out of 8141
-
Mixed: 3,386 out of 8141
-
Negative: 1,126 out of 8141
8,141
movie reviews
- By critic score
-
-
Reviewed by
Vincent Canby 100
The film itself is invigorating - written, directed, and acted with enormous insight and comic elan. [27 Sept 1991] -
-
-
Reviewed by
A.O. Scott 100
"Print the legend," Mr. Wilson says at one point, both quoting John Ford and laying the foundation for his own often fact-free fabulous fabulism. And this movie is just that -- fabulous. -
-
-
Reviewed by
Stephen Holden 100
Creates a cinematic mosaic of American lives unprecedented in its range, balance, subtlety and even-handedness. -
-
-
Reviewed by
A.O. Scott 100
There are few concert movies that were filmed were such abiding feeling and respect. It's of a potent vintage that goes down deceptively smoother with age. -
-
-
Reviewed by
Dana Stevens 100
Like a good novel, Les Destinées is many things: a family chronicle, a series of psychological portraits, a sumptuous re-creation of the past. But the film is also a pointed tribute to the French tradition of quality and distinction, a tradition in which it clearly includes itself. -
-
-
Reviewed by
Dana Stevens 100
Astonishingly well acted film, so much so that it seems unfair to single out any of the performances. Mr. Lawrence's camera sense is as sure and unobtrusive as his feel for acting. The movie just seems to happen, to grow out of the ground like a thorny plant, revealing the intricate intelligence of its design only in hindsight. -
-
-
Reviewed by
A.O. Scott 100
Probably the most breathtakingly gorgeous film of the year, dizzy with a nose-against-the-glass romantic spirit that has been missing from the cinema forever. -
-
-
Reviewed by
Dana Stevens 100
Its pleasures are almost obscenely abundant. -
-
-
Reviewed by
Dana Stevens 100
In exchange for three hours of your time, Yi Yi will give you more life. -
-
-
Reviewed by
Janet Maslin 100
A tough, gorgeous, vastly entertaining throwback to the Hollywood that did things right. As such, it enthusiastically breaks most rules of studio filmmaking today. -
-
-
Reviewed by
Stephen Holden 100
Several times while watching the movie I laughed until the tears were running down my face. -
-
-
Reviewed by
A.O. Scott 100
One of the most purely enjoyable films ever made. -
-
-
Reviewed by
Janet Maslin 100
Succeeds in finding something larger than one man's misery. It turns dark truthfulness into the cinematic sentiment most worth celebrating this season. -
-
-
Critic Score 100
Astonishing... One of the freshest American films of the decade. [4 Aug 1989] -
-
-
Reviewed by
Dana Stevens 100
Like finding that perfect stage of moderate drunkenness in which the senses are sharpened rather than dulled, and time passes with leisurely grace. -
-
-
Reviewed by
Vincent Canby 100
What makes it so instructively entertaining is the pivotal character of Claus von Bulow, played by Jeremy Irons within an inch of his professional life. It's a fine, devastating performance, affected, mannerly, edgy, though seemingly ever in complete control. [17 Oct 1990] -
-
-
Reviewed by
Dana Stevens 100
Not merely an interesting document from a far-off place; it is a masterpiece. -
-
-
-
Reviewed by
Vincent Canby 100
It raises the spirits not by phony sentimentality but by the amplitude of its art. From time to time, it is also roaringly funny... A terrific movie. [1 Oct 1993, p.C1] -
-
-
Reviewed by
Elvis Mitchell 100
Turns out to be a smashing success, a juggernaut of an action-adventure saga that owes noithing to the past. To put it simply, thi is a home run. [6 August 1993, p. C1] -
-
-
Reviewed by
Vincent Canby 100
Merchant, Ivory and Jhabvala triumph again with their entertaining, richly textured film. [13 March 1992] -
-
-
Reviewed by
Vincent Canby 100
Mr. Lee means for Malcolm X to be an epic, and it is in its concerns and its physical scope. In Denzel Washington it also has a fine actor who does for Malcolm X what Ben Kingsley did for “Gandhi.” [18 November 1992] -
-
-
Reviewed by
Elvis Mitchell 100
A devilishly entertaining crime story with a heroine who must be seen to be believed, is as satisfying an ensemble piece as “Red Rock West.” [26 October 1994, p. C13] -
-
-
Reviewed by
Vincent Canby 100
Looks grand without being overdressed, it is full of feeling without being sentimental. Here’s a film for adults. It’s also about time to recognize that Mr. Ivory is one of our finest directors. [5 November 1993, p. C1] -
-
-
Reviewed by
Elvis Mitchell 100
It reimagines the buddy film with such freshness and vigor that the genre seems positively new. -
-
-
Reviewed by
Vincent Canby 100
Prepare yourself for something very special...Here's a severely beautiful, mysterious movie that, as if by magic, liberates the romantic imagination. [16 Oct 1993] -
-
-
-
Reviewed by
Elvis Mitchell 100
A film whose best moments are so novel, so deliriously funny, and so crazily unexpected that they truly must be seen to be believed. [22 June 1988] -
-
-
Reviewed by
Elvis Mitchell 100
A supremely elegant and thoughtful parable. [14 September 1994, p. C11] -
-
-
Reviewed by
Elvis Mitchell 100
A blazing, unlikely triumph about a man who is nobody's idea of a movie hero. Smart, funny, shamelessly entertaining and perfectly serious too. -
-
-
Reviewed by
Dana Stevens 100
Watching E.T now, in an era dominated by cold, loud special-effects-laden extravaganzas, one is struck less by its lavish grandeur than by its intimacy and precision. -
-
-
Reviewed by
Dana Stevens 100
What Mr. Crowe has done is nonetheless remarkable. He has made a movie about sex, drugs and rock 'n' roll that you would be happy to take your mother to see. -
-
-
Reviewed by
Stephen Holden 100
One of the most insightful and wrenching portraits of the joys and tribulations of being a classical musician ever filmed. -
-
-
Reviewed by
Janet Maslin 100
The rare documentary that combines a wildly charismatic subject with an elegant structure...not-to-be-missed. -
-
-
-
Reviewed by
Elvis Mitchell 100
Shakespeare meets Sherlock, and makes for pure enchantment in the inspired conjecture behind Shakespeare in Love. -
-
-
Reviewed by
Stephen Holden 100
A film that has the sweep and esthetic power of a full-length ballet. -
-
-
Reviewed by
Stephen Holden 100
When a film as profoundly quiet as In the Bedroom comes along, it feels almost miraculous, as if a shimmering piece of art had slipped below the radar and through the minefield of commerce. -
-
-
Reviewed by
Stephen Holden 100
Eloquent, meticulously structured documentary -- Sober political and legal analysis alternates with grim first-hand accounts of torture and murder in a film that has the structure of a choral symphony that swells to a bittersweet finale. -
-
-
Reviewed by
Stephen Holden 100
What makes this exquisitely observed slice of American screen realism transcend itself is finally its moral sensibility. -
-
-
-
Reviewed by
Elvis Mitchell 100
A huge, thrilling three-and-a-quarter-hour experience that unerringly lures viewers into the beauty and heartbreak of its lost world. -
-
-
Reviewed by
Vincent Canby 100
Mr. Jordan's screenplay... is both efficient and ingenious. The physical production is as lush as the film's romantic longings. [26 Sept 1992] -
-
-
Reviewed by
Stephen Holden 100
A virtuoso ensemble piece to rival the director's "Nashville" and "Short Cuts" in its masterly interweaving of multiple characters and subplots. -
-
-
Reviewed by
Vincent Canby 100
The Grifters moves with swift unsentimental resolve toward a last act as bleak as any in recent American screen literature. In a less skillful work, it would be a downer. The Grifters is so good that one leaves the theater on a spellbound high. [5 Dec 1990] -
-
-
Reviewed by
Vincent Canby 100
An unqualified winner. Here is a fine dark comedy of flamboyant style and immense though seemingly effortless techniqe...It's an exhilarating original. [21 Aug 1991] -
-
-
Reviewed by
Elvis Mitchell 100
A stunning feat of literary adaptation as well as a purely cinematic triumph. -
-
-
Reviewed by
Stephen Holden 100
By surrendering any semblance of rationality to create a post-Freudian, pulp-fiction fever dream of a movie, Mr. Lynch ends up shooting the moon with Mulholland Drive. -
-
-
Reviewed by
Vincent Canby 100
Virtually nonstop exhilaration--a dramatic comedy not quite like any other, and one that sets new standards for Mr. Allen as well as for all American moviemakers. [7 February 1986] -
-
-
-
Reviewed by
Vincent Canby 100
One of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment. [16 Mar 1972] -
-
-
Reviewed by
Elvis Mitchell 100
As fascinating as it is freakish. It confirms Mr. Lynch's stature as an innovator, a superb technician, and someone best not encountered in a dak alley. [19 September 1986] -
-
-
-
Reviewed by
A.O. Scott 100
When it's over, the realization of how much the movie means to you really sinks in; you can't get it out of your heart. -
-
-
Reviewed by
Elvis Mitchell 100
A triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity, and vibrant local color. Nothing is predictable or familiar within this irresistably bizarre world. You don't merely enter a theater to see Pulp Fiction; you go down a rabbit hole. [23 Sept 1994] -
-
-
Reviewed by
Vincent Canby 100
Kubrick's harrowing, beautiful and characteristically eccentric new film about Vietnam, is going to puzzle, anger and (I hope) fascinate audiences as much as any film he has made to date... A film of immense and very rare imagination. -
-
-
Reviewed by
Elvis Mitchell 100
Steven Spielberg's soberly magnificent new war film, the second such pinnacle in a career of magical versatility, has been made in the same spirit of urgent communication. It is the ultimate devastating letter home. -
-
-
Reviewed by
Elvis Mitchell 100
But the film Schindler's List, directed with fury and immediacy by a profoundly surprising Steven Spielberg, presents the subject as if discovering it anew. [15 Dec 1993] -
-
-
Reviewed by
Elvis Mitchell 100
A parent-tickling delight, is a work of incredible cleverness in the best two-tiered Disney tradition. [22 November 1995, p. C9] -
-
-
-
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. -
-
-
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. -
-
-
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." -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
Reviewed by
Dana Stevens 100
Mystic River is the rare American movie that aspires to -- and achieves -- the full weight and darkness of tragedy. -
-
-
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. -
-
-
Reviewed by
Dana Stevens 100
Stupendously entertaining. -
-
-
Reviewed by
Dana Stevens 100
Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
Reviewed by
Vincent Canby 100
Mr. Allen's most securely serious and funny film to date. -
-
-
Reviewed by
Vincent Canby 100
One of the most deliriously funny, ingenious and stylish American adventure movies ever made. -
-
-
-
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) -
-
-
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) -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
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. -
-
-
Reviewed by
A.O. Scott 100
New York becomes a complex character in this vital and sharply intelligent film. -
-
-
Reviewed by
Elvis Mitchell 100
You can know every glitch that made this such a dangerous mission, and Apollo 13 will still have you by the throat. [30 June 1995] -
-
-
Reviewed by
Elvis Mitchell 100
The film's sleek moodiness and visual sophistication are so effective that there's even a scene here that makes Detroit look like the most romantic city in the world. -
-
-
Reviewed by
Elvis Mitchell 100
An irresistible black comedy and a wicked delight. [27 Sept 1995] -
-
-
Reviewed by
Manohla Dargis 100
One of the enormous pleasures of genre filmmaking is watching great directors push against form and predictability, as Mr. Romero does brilliantly in Land of the Dead. One thing is for sure: You won't go home hungry. -
-
-
Reviewed by
Manohla Dargis 100
Audiard's superb remake improves on the original significantly, investing it with aesthetic grandeur and emotional depth. -
-
-
-
Reviewed by
Manohla Dargis 100
Like Hitchcock, Mr. Wong is at once a voyeur and fetishist par excellence. -
-
-
Reviewed by
Manohla Dargis 100
Mr. Herzog is also no ordinary filmmaker. It is the rare documentary like Grizzly Man, which has beauty and passion often lacking in any type of film, that makes you want to grab its maker and head off to the nearest bar to discuss man's domination of nature and how Disney's cute critters reflect our profound alienation from the natural order. -
-
-
Reviewed by
Manohla Dargis 100
A masterpiece of indirection and pure visceral thrills, David Cronenberg's latest mindblower, A History of Violence, is the feel-good, feel-bad movie of the year. -
