For 8,141 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 2.8 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: 3,629 out of 8141
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Mixed: 3,386 out of 8141
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Negative: 1,126 out of 8141
8,141
movie reviews
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Reviewed by
A.O. Scott 100
In its time, this film represented the arrival of something new, and even now it can feel like a bulletin from the future.- Posted Apr 30, 2013
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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] -
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Critic Score 90
For the most part, Nino Rota's music provides a rich melodic surrounding for the pictorial magnificence, and a heretofore unknown Verdi waltz that is played at the ball at the finish appropriately supplements this remarkably vivid, panoramic, and eventually morbid show. (Review of Original Release) -
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Reviewed by
Vincent Canby 90
The movie is perfectly cast, from Trintignant and on down, including Pierre Clementi, who appears briefly as the wicked young man who makes a play for the young Marcello. The Conformist is flawed, perhaps, but those very flaws may make it Bertolucci's first commercially popular film. (Review of Original Release) -
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Reviewed by
Dana Stevens 100
Its pleasures are almost obscenely abundant. -
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Reviewed by
Elvis Mitchell 100
A marvelous toy. It's funny, it's full of tricks and it manages to be royally entertaining, which is really all it aims for. -
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Reviewed by
Manohla Dargis 100
This film, which was never released in America and will now be making its way across the country in limited release, has been immaculately restored and features new subtitles. You can get lost in the blackness of its heart and its shadows. You might never come back. -
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Reviewed by
A.O. Scott 100
One of the most purely enjoyable films ever made. -
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Reviewed by
A.O. Scott 100
A swift and accessible entertainment, blunt in its power and exquisite in its effects. -
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Reviewed by
Dana Stevens 90
Metropolis retains its power to overwhelm, trouble and move because it is connected to the deep anxieties of modern life as if by a high-voltage cable. -
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Reviewed by
Manohla Dargis 100
It’s a pitiless, violent story that in its telling becomes a haunting and haunted intellectual and aesthetic achievement. -
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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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Critic Score 90
The French Connection is a film of almost incredible suspense, and it includes, among a great many chilling delights, the most brilliantly executed chase sequence I have ever seen. [8 October 1971] -
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Critic Score 70
The ultimate touch of ghoulish humor is when we see the bomb actually going off, dropped on some point in Russia, and a jazzy sound track comes in with a cheerful melodic rendition of "We'll Meet Again Some Sunny Day." Somehow, to me, it isn't funny. It is malefic and sick. -
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Reviewed by
A.O. Scott 100
A nearly flawless piece of popular art, as well as one of the most persuasive portraits of an artist ever committed to film. It provides the kind of deep, transporting pleasure, at once simple and sophisticated, that movies at their best have always promised. -
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Reviewed by
Manohla Dargis 90
When Mr. Eisenberg makes Mark's face go blank, the character seems scarily emptied out: it's a subtly great, at times unsettling, performance. -
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Reviewed by
Manohla Dargis 100
Ms. Bigelow's direction here is unexpectedly stunning, at once bold and intimate: she has a genius for infusing even large-scale action set pieces with the human element.- Posted Dec 18, 2012
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Reviewed by
A.O. Scott 80
It is a rigorously honest movie about the difficulties of being honest, a film that tries to be truthful about the slipperiness of truth.- Posted Dec 29, 2011
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Critic Score 60
The film is so artfully contrived, the plot so interestingly started, the dialogue so racy and sharp, and John Frankenheimer's direction so exciting in the style of Orson Welles when he was making Citizen Kane and other pictures that the fascination of it is strong. So many fine cinematic touches and action details pop up that one keeps wishing the subject would develop into something more than it does. -
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Reviewed by
A.O. Scott 90
The towering, lost dreaminess at the heart of the film is an unmistakable obsession of this director. -
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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. -
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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] -
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Reviewed by
Manohla Dargis 100
The result is an American masterpiece, independent to the bone. -
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Reviewed by
A.O. Scott 100
The best nondocumentary American feature made yet about the war in Iraq. -
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Reviewed by
A.O. Scott 100
And the ingenuity of “Sita” — is dazzling. Not busy, or overwhelming, or eye-popping. Just affecting, surprising and a lot of fun. -
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Reviewed by
A.O. Scott 100
The first 40 minutes or so of Wall-E -- in which barely any dialogue is spoken, and almost no human figures appear on screen -- is a cinematic poem of such wit and beauty that its darker implications may take a while to sink in. -
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Reviewed by
Manohla Dargis 90
Like the film itself, the performance (Giamatti's) is deeply controlled, played with restraint and with microscopic attention to detail. -
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Reviewed by
Stephen Holden 100
Throughout We Were Here there is not a hint of mawkishness, self-pity or self-congratulation. The humility, wisdom and cumulative sorrow expressed lend the film a glow of spirituality and infuse it with grace.- Posted Sep 8, 2011
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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
Manohla Dargis 90
Like the convictions of some born into religious families, his (Carlos) Marxism seems more a matter of habit than faith. What seems to turn him on is power, which, the movie suggests, he nurtured alongside his luxe tastes. -
