Rolling Stone's Scores

For 4,106 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Wolf of Wall Street
Lowest review score: 0 Joe Versus the Volcano
Score distribution:
4106 movie reviews
  1. We came into this series tickled by the element of surprise. And we leave Chapter 4 with the distinct feeling of satisfaction.
  2. It may hint that the bad guy at the center of if all wasn’t the primary villain. But the movie does prove, beyond a shadow of a doubt, that it is its own worst enemy.
  3. Fury of the Gods makes for dandy spectacle, its digitally rendered catastrophe the match of any such competing big-screen visions of doom. But it somehow marries the pending apocalypse to a blithe spirit, and the cognitive dissonance never gets drastic enough to ruin the good time.
  4. Even an Oscar-nominated GOAT can’t escape something that seems so perfectly put together on the outside and is so flawed, easily trashed, and barely held together on the inside.
  5. What Seligman, Sennott and Edebiri have given us is nothing less than a Heathers for this generation. It hits you, and it feels like a kiss.
  6. Pine is the secret sauce that keeps this thing buoyant and fleet-footed, even when the plot turns start piling up. He’s the guy at the center of this ensemble who’s shining but not eclipsing everybody. More than the VFX and the grand-gesture spectacle, he’s the one making this movie fun. Like vintage summer-blockbuster kind of fun.
  7. 65
    It’s not schlocky enough to be so-bad-it’s-good and nowhere near good enough to be taken even a tiny bit seriously.
  8. The sixth time isn’t the charm here. And it’s certainly way, way less fun and clever than it thinks it is.
  9. There are tiny glimpses of someone who has genuine chops behind the camera, almost but not quite enough to make you think that, given more time and focus, he could have made something out of these spare parts. Or maybe, just maybe, this whole botched Operation is designed to make his older, possibly lesser work look better.
  10. Creed III is very much a boxing movie. But it’s got a gnarled, contingent conflict at its center that’s a little too knowing for the movie not to have a little more than usual on its mind.
  11. Long before Palm Trees becomes an outright film about sex work, it establishes itself as a film about the dire social transaction that sex can be — an old story, tragic every time, and effective here.
  12. There are movies that were never going to be good, no matter the effort, and then there are movies that decide upfront to be bad and have a much easier time asking us to go with it. Cocaine Bear is the latter. It gives us what we’re asking for. Turns out, that isn’t much.
  13. The Quiet Girl is, quite simply, a genuine work of art by a genuinely empathetic artist, and one of the single most moving, heartfelt, and heartbreaking movies from any country in the last decade.
  14. Frances O’Connor’s Emily, her directorial debut, takes a familiar literary biography and garnishes it with the right kind of creative liberties — the vibrant, suggestive kind.
    • 16 Metascore
    • 10 Critic Score
    Blood and Honey is a hundred-acre wasteland, a witless gory bore, and in the end, you’re just depressed that anyone spent time working on it.
  15. Chou has said that the film isn’t autobiographical — nor, despite the fact that Park herself was born in Korea and raised in France, is this her story. Yet the two of them have made something that feels so intensely personal and infuses so much life into this young woman’s trek toward self-discovery.
  16. Until some sort of creative second wind blows in, casual moviegoers and deeply invested fanatics may have to simply keep enduring overly familiar, frustrating placeholders like this. Quantumania revolves around a powerful villain who wants to control time. The movie itself is merely killing time.
  17. Cut out the extra layers of nothingness piling up in the margins and you’ve got the kind of surreal tension that only romantic comedies, that dying but not dead genre, can offer: a case being made for romantic love, even when it doesn’t exist.
  18. Even when it seems at risk of spinning its wheels into oblivion, there’s an urgent pleasure in watching it spin.
  19. Tame is what Magic Mike’s Last Dance is — what it apparently wants to be, what it becomes in exchange for its new, cardboard-simple, ostensible pro-woman worldview. The movie’s pleasures mute themselves beneath its good intentions. It wants to be about what women want. But it feels like it never asked.
  20. Full Time works because of, not despite, its cutting thrills. The anxiety we feel as we watch is very much the point. Julie is living on the edge. The movie marvels at her ability to keep her balance. And it laments the fact that her survival should depend on it.
    • 53 Metascore
    • 40 Critic Score
    Making a warm movie about friendship as a tribute to this weirdo is an impossible task.
  21. One Fine Morning is yet more evidence of how far Mia Hansen-Løve can push her naturalistic style, using seemingly plain storytelling to advance intellectual ideas that rarely feel drawn from the mind because they are so in tune with felt experience: feelings and attractions, the passing of time, the sense of a life being lived. This movie is no different.
  22. The fact that Shyamalan seems to be working out some issues onscreen doesn’t stop him from crafting a thriller, and one which goes about its job with steady determination in Cabin’s cryptic, superior first half.
    • 50 Metascore
    • 50 Critic Score
    The film can’t figure out if it wants to be a love story or social commentary, and ends up doing neither very well.
  23. The actors, working from a script by Sachs and Mauricio Zacharias, and swept up in Sachs’s characteristically perceptive, subtle dramatic style, make the whims and wills of these people feel consistent and predictable, which is to say, true to life.
  24. Eileen wants us to notice how the psychological brick house it’s been building all along explains the outcome. But the outcome almost doesn’t matter. The real joy is in the hungers we tasted along the way.
  25. It fails as a character study because the murky inner workings of the character are all manifest, outwardly, in turns and attitudes that you can see from a mile away and are no wiser for being able to predict.
  26. You can’t say that Cat Person is shy about taking the medium to task for selling a romantic ideal that’s more than a little curdled. If only it was this rigorous and incisive about the source material itself.
  27. Guggenheim and his subject also want to show what it’s like to be Michael J. Fox right now, and that’s really where this documentary, which premiered at Sundance today, turns into something else entirely — something beyond praise or tragedy.

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