Rolling Stone's Scores

For 3,588 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 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Foxcatcher
Lowest review score: 0 The Last Song
Score distribution:
3588 movie reviews
  1. What makes it one of the best (and most unclassifiable) movies of the year is the hypnotic way it keeps re-inventing itself from scene to scene.
  2. What does work is hearing Grace take the stage for a new song, “Love Myself” that shows Ross can hold the screen as if by divine right. Loving her is easy — it’s swallowing the movie’s sudsy, soap-operatics that’s hard.
  3. How sexism, toxic masculinity, complicity, and not-so-borderline criminal behavior is baked into the music business gets pecked at but never fully unpacked.
  4. You can be successfully creative or you can end taking a much more crooked path. As The Painter and the Thief so ably demonstrates, your life is worthy or compassion and consideration regardless.
  5. In these times of pandemic isolation it’s no crime to look for the film equivalent of comfort food. Military Wives, though deeply reliant on formula and wrapped in a blanket of bland, fits the bill.
  6. By the time these two comedians are served dessert, they’re bickering over Coogan’s level of fame regarding a fake eulogy and trading celebrity impersonations. Fourth verse, same as the first. Only the scenery has changed.
  7. One adjective you don’t hear much anymore is “preposterous,” defined as “contrary to nature, reason or common sense.” Yet the word applies perfectly to Inheritance, a blithering botch job of a thriller that begs the question: “Come on, are you f**king kidding me?”
  8. The Lovebirds knows how to send out a laugh with a sting in its tail. That’s what they call inspired lunacy.
  9. The original cartoon’s credit sequence, redone with modern computerized shininess, is indeed a gas to witness. The rest is basically corporate synergy, canine shenanigans, and hot air. Zoinks, indeed.
  10. A tale of alien abduction, Proxmity serves as an in-and-out impressive calling card for debuting feature writer and director Eric Demeusy.
  11. From its generic title to an ending you can see coming from outer space, Blood and Money follows a path rutted with enough clichés to cover the three million acres of Maine forest land where the film is set.
  12. The director’s sophomore feature brims with so many tender mercies, so many quietly observed moments, that even its light touch leaves a mark.
  13. Aside from Hardy’s full-on commitment, Capone seems too dramatically dull and laborious to support its ambition as a subversive biopic or a deeply personal take on public vilification.
  14. We may never see the likes of something like this again, even as climate change makes the impetus behind Biosphere 2 that much more urgent. But if Spaceship Earth proves nothing else, it left behind some one hell of a stranger-than fiction yarn.
  15. All credit to O’Sullivan, Thompson and a tone-perfect cast for creating a film that moves to the rhythms of life as its lived rather than fantasized. Saint Frances retains its rough edges to that last. And that’s some kind of miracle.
  16. Hope Gap is a deeply personal project for Nicholson, who is performing an autopsy on the marriage of his own parents, with him as the son trying to be faithful and fair to both combatants.
  17. What does matter, besides the collection of deranged characters who can’t escape their limitations, is the southern-fried atmosphere so resonantly captured by DP Steven Meizler (Contagion).
  18. It’s funny — as is a lot of this eager-to-please, all-over-the-place movie — thanks to the dry snap of Moran’s dialogue and Feldstein’s exhilarating performance.
  19. Blue Story is a 91-minute assault of sound and image that leaves no doubt about the vicious cycle of gang violence it presents. Prepare to be wowed.
  20. The reason you need to see Bull, however, and we do not use that verb lightly, is Morgan. The calm, concentrated, understated manner in which he presents this man, who’d rather have a battered body than a bruised pride, is something to behold.
  21. If this pitch-black comedy seems perilously close to falling apart under the weight of its creator’s ambitions and near-camp aesthetic (a common problem with even the best of Dupieux’s work), it also comes at a type of delusional alpha dudes in the most gleefully caustic of ways.
  22. Despite its fluid sexuality, The Half of It turns out to be less of a love story than a funny, touching and vital look into the nature of friendship.
  23. In the end, the audience is rewarded with a steadily riveting provocation that jabs at the culture of money that makes us all complicit.
  24. Visually, however, True History speaks volumes. In tandem with MacKay, whose incendiary performance finds method in Ned’s growing madness, Kurzel and his crew of merry, malicious pranksters blow the dust off a calcified outlaw history to bring something elemental and transgressive to the screen.
  25. No judgments here if you just want to hang back and let nonstop gore, gunfire, and explosions numb you into submission. Take that, COVID-19.
  26. You can tell there’s a voice and vision behind Selah and the Spades, one that’s likely to come into its own after some seasoning. It might seem like faint praise to throw a “watch this space” sign on top of what is indeed a more-than-impressive first movie.
  27. Though the movie stalls frequently before it finds its balance, Woodley makes us care.
  28. Sergio is not a film about a saint or a sinner, but an attempt that succeeds more often than not to create a portrait of a man in full. Yes, it also occasionally puts him on a pedestal — but in these dark days, advocating for hope and idealism feels exactly right.
  29. It would be unfair to fully explain Tigertail‘s last act, though you may be able to figure out where this gentle, heartfelt tale is going to wind up. All you need to know, really, is that it ties everything you’ve seen together, the title takes on new meaning and the film exits on what is, for my money, one of the single greatest last shots in recent memory.
  30. Trolls World Tour hits the home market at exactly the right time, celebrating music as a joyful, community experience that excludes no one. Nothing wrong with a movie, even this kiddie piffle, that steps up and does that.

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