Rolling Stone's Scores

For 3,633 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 To Die For
Lowest review score: 0 Collateral Beauty
Score distribution:
3633 movie reviews
  1. Blunt honesty and rare introspection sets Howard apart from the usual cut-and-paste trips down memory lane.
  2. Still, a movie that even glancingly grapples with questions of ethnic and spiritual identity, past and present, is hardly hack work. It’ll do in a pickle.
  3. The Fight may be cursed with a generic name. But it’s a 100-percent accurate one.
  4. It feels both timeless in its ability to channel a universal fear of mortality and if it has arrived, regrettably, right on time.
  5. A sweet, soft-centered pastoral drama that’s never as tough-minded as you want it to be. Thankfully, in her feature debut as a filmmaker, playwright Jessica Swale shows a genuine flair with actors.
  6. The doc’s goal: Don’t think of the Go-Go’s as a bit of Reagan-era nostalgia, the musical equivalent of a Rubik’s cube. Think of them as a first-tier, kick-ass rock group, period, full stop, the end. Mission accomplished.
  7. The movie’s ambitions exceed its grasp, and it’s hard not to wonder if the ideas here might not have been better served in a shorter, tighter format.
  8. Never mind the curveballs that Radioactive throws audiences on its defiantly unconventional journey into a defiantly unconventional life. Maria Salomea Skłodowska Curie has been done proud.
  9. What elevates The Rental is the dynamite acting from the four leads.
  10. As an introduction to who these guys are, the bond they share and the legacy they contributed to, it’s a better-than-decent primer. You simply wish it didn’t feel like one long, stop-and-start mic check.
  11. Extending its litany of horrors to nearly three hours, the film is certainly an endurance test. Yet its potent presentation, notably Vladimir Smutny’s striking monochromatic cinematography, gives the film the raw impact of a documentary.
  12. The trouble does not emerge from the movie’s noble intentions, but from the stodgy manner in which they play out.
  13. So call Bloody Nose, Empty Pockets a documentary, or a docufiction, or an ecstatic-truth improvisation — just don’t let it miss last call.
  14. Relic marks an auspicious debut for Japanese-Australian director Natalie Erika James, who wants her slow-building thriller to seep into your bones rather than pound you with cheap scares.
  15. Palm Springs suggests that repetition can kill sex drives, marriages, and even the will to live. Yet it still leaves you laughing gratefully at the resilience of love.
  16. Theron has already showed her talent for bringing a deeper dimension to action as Furiosa in "Mad Max: Fury Road." Here, the actor reveals the toll that living forever is taking on Andy, who took a year off to heal emotional scars before her reluctant return to battle.
  17. The subject’s virtues, however, outweigh any of the film’s weak spots.
  18. The Outpost gets it crucially right by bringing home the meaning of heroism as a collective action. The you-are-there ferocity of this sequence, brilliantly abetted by the prowling, handheld camerawork of Lorenzo Senatore, ranks with the best interpretations of combat on film. Your nerves will be shattered, guaranteed.
  19. It’s the essential conflict between mother and daughter that brings The Truth into Kore-eda territory, where life is always a delicate balance. He’s lucky to have Deneuve and Binoche tempering the verbal fireworks with a tenderness that that allows for pain, regret and the hard-won knowledge that they must both face the truth to move on.
  20. It’s an indisputable classic.
  21. Welcome to Chechnya is a horror movie, but it’s also a collective profile in courage. You can’t say that “such people” are not here. They are, and they’re not just heroes, the movie suggests. They’re the last thing standing between survival and a purge.
  22. There is nothing distinctive about this toxic available-on-demand tripe except the absence of Mark Polish, though Michael didn’t spare his wife Kate Bosworth from acting duty in a thankless role. One thing’s for sure: This downpour of offensive ethnic stereotyping is a total washout.
  23. And when we arrive at Hoon keeping the camera rolling as he lays on a New Orleans bed, literally hours before he’ll be found unresponsive on the band’s tour bus, it doesn’t feel ghoulish. It just feels like we’ve walked long and hard in his shoes and reached the end way too soon.
  24. It’s impossible for Ferrell and McAdams to top Stevens for campy pyrotechnics, so they’re left to hard-sell a Lars-Sigrit romance that’s too tepid to strike a jaja ding dong.
  25. Movie junkies, rejoice. Director Peter Medak has made an instructive and nightmarishly funny documentary about how actor Peter Sellers drove him crazy and nearly trashed his career.
  26. In a twist ending, Stewart leaves us wondering if gaming the system is preferable to changing it. Can a political satire that dances on the border between silly and profound really make us take off the blinders, even for a few hours?
  27. Enter at your peril…of major eyeroll strain.
  28. In the hands of first-time feature director Shannon Murphy — who crushed it in both of the Season Three Killing Eve episodes she helmed — and screenwriter Rita Kalnejais, who adapted her own play, Babyteeth rips past the hackneyed tropes of illness drama to dig out what’s fresh in the familiar.
  29. Your chances for enjoying this will depend on giving up a search for depth and just strapping in for a B-movie hell ride.
  30. Fort Worth native Channing Godfrey Peoples, making a striking feature debut as director and screenwriter, knows this place in her bones. She’s crafted a keenly observant and emotionally resonant debut film that feels authentically lived in.

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