For 3,275 reviews, this publication has graded:
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47% higher than the average critic
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2% same as the average critic
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51% lower than the average critic
On average, this publication grades 0.9 points lower than other critics.
(0-100 point scale)
Average Movie review score: 64
Highest review score: | Hell or High Water | |
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Lowest review score: | Funny Games (2008) |
Score distribution:
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Positive: 1,814 out of 3275
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Mixed: 1,163 out of 3275
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Negative: 298 out of 3275
3275
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Alison Willmore
What it is, really, is a showbiz satire about media ownership and our nostalgia fixation, though it muddles its message before the tone gets too scathing. It is, after all, still a Disney movie, even if it takes a perverse pleasure in playing around with Disney’s vast catalogue of characters.- New York Magazine (Vulture)
- Posted May 20, 2022
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Jen Chaney
The whole movie-making story line is the most fun part of A New Era and gives Fellowes, who wrote the script, and director Simon Curtis an opportunity to do what Downton Abbey has always done best: explore class distinctions and how those boundaries are constantly changing.- New York Magazine (Vulture)
- Posted May 19, 2022
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Angelica Jade Bastien
Despite all the broken bones, the graphic deaths, and the copious amounts of blood, the driving idea behind Men is not bold enough to feel frightening. Instead, it’s remarkably tepid.- New York Magazine (Vulture)
- Posted May 18, 2022
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Reviewed by
Alison Willmore
Thyberg clearly set out to create a hysteria-free look at the industry, taking on the challenge of critiquing structural issues without casting judgments on the idea of having sex on camera. Pleasure succeeds at this, though not without a cost. It’s a clear-eyed treatment of porn wedded to a character study that never comes to life.- New York Magazine (Vulture)
- Posted May 13, 2022
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Reviewed by
Alison Willmore
All of the miseries that are revealed as the two men go about their day may be bleak, but the humor comes from the small indignities inflicted on them even as they try to go out with a bang.- New York Magazine (Vulture)
- Posted May 13, 2022
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Bilge Ebiri
Perhaps what’s most dispiriting about this Firestarter is how visually impoverished it is.- New York Magazine (Vulture)
- Posted May 13, 2022
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Roxana Hadadi
There is a sparseness to Hit the Road that reveals the intuitiveness of Panahi’s filmmaking, his grasp of these characters and how they tug and poke at each other, and his understanding of the ways fear, paranoia, and loss turn us into people we might not like, let alone recognize.- New York Magazine (Vulture)
- Posted May 12, 2022
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Angelica Jade Bastien
Doctor Strange in the Multiverse of Madness is trying for a blend of horror and humor, something close to the heart and terror that Raimi was able to bring to bear throughout his career. But here, his craft has been hemmed in, gamified, leeched of color and vivacity.- New York Magazine (Vulture)
- Posted May 4, 2022
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Bilge Ebiri
There’s an unflinching, near-clinical relentlessness to the picture, but therein lies its compassion and empathy.- New York Magazine (Vulture)
- Posted Apr 29, 2022
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Reviewed by
Bilge Ebiri
In the end, Memory’s greatest asset might be that it knows exactly what it is — a fun combination of sleazoid action and surprising emotion. It’s the best kind of B-movie.- New York Magazine (Vulture)
- Posted Apr 29, 2022
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Reviewed by
Bilge Ebiri
In its broad strokes, The Unbearable Weight of Massive Talent is a fairly by-the-numbers action comedy, one that sometimes wears Cage’s presence like a talisman against the bad juju of slipshod storytelling. But the talisman works because the film never loses sight of its touchingly nutty premise and because Cage remains a compelling actor.- New York Magazine (Vulture)
- Posted Apr 24, 2022
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Reviewed by
Alison Willmore
The mechanics of Sciamma’s film are simple, but they’re realized so delicately, and with the help of such unaffected child performances, that they feel miraculous.- New York Magazine (Vulture)
- Posted Apr 24, 2022
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Reviewed by
Alison Willmore
The Northman doesn’t invite its viewers into its world, but instead dares them to try to catch up.- New York Magazine (Vulture)
- Posted Apr 24, 2022
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Reviewed by
Alison Willmore
If the series was conceived as a way to hold on to the fans of the original books and movies who are now grown, what’s clear in practice is it’s a children’s story staggering to support a few ambitious and deeply underdeveloped themes.- New York Magazine (Vulture)
- Posted Apr 15, 2022
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Angelica Jade Bastien
Ambulance, the latest from director Michael Bay, is a film powered by the jittery force of will and blissful confidence that comes with doing cocaine. Lots of cocaine.- New York Magazine (Vulture)
- Posted Apr 13, 2022
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Reviewed by
Alison Willmore
More than anything, Aline feels like a kamikaze act of wish fulfillment, wildly indulgent but so deeply committed to what it’s doing that it can’t help but be compelling.- New York Magazine (Vulture)
- Posted Apr 8, 2022
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Bilge Ebiri
It’s a lot more like the movie we were worried the first one was going to be: baggy, bloated, and only sporadically engaging.- New York Magazine (Vulture)
- Posted Apr 8, 2022
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Reviewed by
Roxana Hadadi
When Kurzel does penetrate the unkempt veil of Jones’s hair and closes in on his face, it’s to capture how the actor sprints from one emotion to another, alluding to the impetuousness and spontaneity at play within Nitram.- New York Magazine (Vulture)
- Posted Apr 4, 2022
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Reviewed by
Alison Willmore
The film’s litany of details about growing up in the Houston area in the ’60s isn’t enveloping — instead, in its drone of vintage sitcom titles and reminiscences about fecklessly riding in the back of a pickup on the freeway to the beach, it feels, for the first time from Linklater, like a lecture about how things were better back then.- New York Magazine (Vulture)
- Posted Apr 1, 2022
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Bilge Ebiri
Freed from the shackles of elaborate world-building or jokey, family-friendly tentpole-dom, this is a tight, brisk little over-the-top thriller, with plenty of atmosphere, effective jump scares, and a couple of genuinely moving performances at its heart.- New York Magazine (Vulture)
- Posted Apr 1, 2022
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Angelica Jade Bastien
The Lost City isn’t terrible, just aggressively mediocre. It is the kind of movie you put on in the background after coming across it on TBS while you fold laundry on a Sunday afternoon. If anything, The Lost City makes evident not a lack of stars, but a persistent inability on the part of contemporary Hollywood to know what to do with them.- New York Magazine (Vulture)
- Posted Mar 29, 2022
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Reviewed by
Alison Willmore
Everything Everywhere All at Once may be a kaleidoscopic fantasy battle across space, time, genres, and emotions, but it’s an incredibly moving family drama first.- New York Magazine (Vulture)
- Posted Mar 29, 2022
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Reviewed by
Bilge Ebiri
One of the pleasures of a film like this is the knowledge that a new fold is always coming. Seen in that light, occasional narrative implausibilities (of both the psychological and physical kind) recede into the distance. The Outfit is imperfect, but it works perfectly.- New York Magazine (Vulture)
- Posted Mar 20, 2022
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Alison Willmore
Like most of West’s films, X is not particularly ambitious in its psychology or storytelling. It’s his technique that makes his work feel like it has one foot in the arthouse, with its elegant compositions and the way the camera moves as though daring us to see something the characters have yet to spot.- New York Magazine (Vulture)
- Posted Mar 19, 2022
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Bilge Ebiri
What makes Ahed’s Knee so powerful is the way the movie detonates before our eyes.- New York Magazine (Vulture)
- Posted Mar 18, 2022
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Reviewed by
Alison Willmore
Deep Water, which was written by Zach Helm (of Mr. Magorium’s Wonder Emporium) and Euphoria Svengali Sam Levinson, never creates any sense of internal coherence in its toxic main pair.- New York Magazine (Vulture)
- Posted Mar 16, 2022
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Reviewed by
Alison Willmore
Effervescent and ridiculous and grounded in a pastel-shaded Toronto and the nearby throwback details of 2002, it has texture and specificity to spare, and the only person it cares to speak on behalf of is its 13-year-old heroine, Meilin Lee (Rosalie Chiang).- New York Magazine (Vulture)
- Posted Mar 12, 2022
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Reviewed by
Bilge Ebiri
It’s an assemblage of ideas from other popular films that just hangs there with little cohesion. It’s like watching a movie that hasn’t been made yet.- New York Magazine (Vulture)
- Posted Mar 11, 2022
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Reviewed by
Alison Willmore
Like a lot of movies these days, Fresh feels like it was conceived through its themes first and then written to bolster those ideas, rather than from the perspective of character or story.- New York Magazine (Vulture)
- Posted Mar 4, 2022
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Reviewed by
Bilge Ebiri
Abu-Assad has made his share of films about the cruel absurdity of life under Israeli occupation, but here he lets all sides have it- New York Magazine (Vulture)
- Posted Mar 4, 2022
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