Rolling Stone's Scores

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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:
  1. Positive: 2,658 out of 4106
  2. Mixed: 852 out of 4106
  3. Negative: 596 out of 4106
4106 movie reviews
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  1. John Wick: Chapter 4
    We came into this series tickled by the element of surprise. And we leave Chapter 4 with the distinct feeling of satisfaction.
  2. Boston Strangler
    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. Shazam! Fury of the Gods
    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. Inside
    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. Bottoms
    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. Dungeons & Dragons: Honor Among Thieves
    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. Scream VI
    The sixth time isn’t the charm here. And it’s certainly way, way less fun and clever than it thinks it is.
  9. Operation Fortune: Ruse de Guerre
    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
    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. Palm Trees and Power Lines
    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. Cocaine Bear
    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
    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. Emily
    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
    Winnie-the-Pooh: Blood and Honey
    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.
  16. Return to Seoul
    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.
  17. Ant-Man and the Wasp: Quantumania
    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.
  18. Your Place or Mine
    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.
  19. The Outwaters
    Even when it seems at risk of spinning its wheels into oblivion, there’s an urgent pleasure in watching it spin.
  20. Magic Mike's Last Dance
    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.
  21. Full Time
    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
    80 for Brady
    Making a warm movie about friendship as a tribute to this weirdo is an impossible task.
  23. One Fine Morning
    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.
  24. Knock at the Cabin
    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
    You People
    The film can’t figure out if it wants to be a love story or social commentary, and ends up doing neither very well.
  26. Passages
    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.
  27. Eileen
    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.
  28. Magazine Dreams
    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.
  29. Cat Person
    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.
  30. Still: A Michael J. Fox Movie
    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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