Rolling Stone's Scores

For 4,010 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 All About Steve
Score distribution:
4010 movie reviews
  1. Blonde is no truer or more intelligent than a more openly sleazy rendition of this story. It leaves too little room (despite its two hour and 40 minute runtime) to reconcile the fuller reality of this woman.
  2. It could have been a straightforward documentary about the David Bowie story — but who wants straightforward when it comes to Bowie? Instead, Moonage Daydream is a gloriously innovative trip into the Thin White Duke’s mind, written, directed, and edited by Brett Morgen.
  3. An Afrocentric historical epic designed to be screened as big as possible, made by a Black female filmmaker, starring a Black woman of a certain age as an action hero, telling a story that’s left out of world-history books, vying for a mass audience in the age of I.P. imperialism — these are not just qualifiers for The Woman King. They are the sounds of ceilings being shattered and, hopefully, left to rot as piles of splintered glass on the ground.
  4. It entered the festival circuit as a politically charged take on the standard there-goeth-the-great-artist story and exited it as a peerless act of personal reclamation. I can’t shake the feeling of being shook by it.
  5. If the movie does adhere to his signature beats, and feature so many recognizable Spielbergisms, occasionally to its detriment, it’s still one of the most impressive, enlightening, vital things he’s ever done.
  6. It’s not exactly the second coming of Walk Hard, though it’s the best Weird Al movie since UHF [cue laugh track and maybe a Whoppee Cushion sound effect] — and like Al himself, it still hits each beat with an infectiously goofy exuberance.
  7. It’s a movie that utilizes every bit of Gavras’ abundant chops and marshals them to make a coherent statement, tapping brains and heart and spleen in the name of forcing you to recognize what he’s putting in front of you.
  8. Honk for Jesus is a fine, often funny movie about the moral hypocrisy of the church and an even better movie about a woman forced to endure looking like a fool, an outright clown, because of her husband.
  9. By the time Darling‘s revelations are supposed to double as a call to revolution, you’re left with the sense that you’ve just witnessed the most well-designed, aesthetically pleasing angry tweet ever penned.
  10. Owen Kline’s script is boisterous, funny, and very much committed to the bit. This is a movie about junior independence, after all, about a slightly full-of-himself young talent who’s journeying out on his own for the first time. So Kline makes sure the journey is memorable.
  11. Breaking is a family affair, a film that works because every person in its cast, even those playing the “villains,” gives you a character whose flawed humanity is worth believing.
  12. When it’s working, Three Thousand Years is an old curiosity shop of a movie, a cache of curios and strange conceits, many of which, when the movie isn’t working, are submerged into the bland uniformity of Miller’s stylistic approach to large stretches of this film.
  13. It’s funny to think of this new chapter, with all its mean twists and its tense character convolution, as a prelude to the story we already know. Orphan is the longer movie, but compared to First Kill, it’s a psychologically slim, unmessy affair in comparison.
  14. Free Chol Soo Lee is not a true crime documentary. If anything, it goes out of its way to avoid becoming one.
  15. If you’ve ever wanted to the man formerly known as Stringer Bell cold-cock the King of the Jungle, Beast is the movie of your dreams. Take that specific wish-fulfillment out of the equation, and what you’re left with is just a modern variation on a 1970s animal-slasher flick.
  16. As a social tract, Emily the Criminal is more impassioned than wise. As a thriller, it fares better — in that case, no one’s asking for wisdom.
  17. This is still star-driven, big-screen goofiness writ large, something to be consumed with popcorn and a crowd, and that fact its hitting U.S. screens during the summer dog days couldn’t be more welcome. You just might want to wear two masks in the theater.
  18. Fall is a straightforward survival thriller with just enough personality to glue you to your seat.
  19. Summering works better as a mood than it does a movie, succeeding in channeling a certain feeling of transition despite ambling, or occasionally stumbling though more traditional kids-flicks narrative beats.
  20. What makes Dunham’s art worth watching is what makes so much of it feel like a gamble. It invites projection.
  21. It wants to be a slasher, but it isn’t reckless enough. It wants to be funny, but it only has two jokes, and it repeats them ad nauseum. It wants to be tense, but it takes advantage of almost none of the tension that this scenario and its McMansion setting have to offer.
    • 41 Metascore
    • 50 Critic Score
    It’s clear that Jo Koy loves his relatives, and wants the world to know it. It’s just that his style would be better served within the more earnest confines of a traditional multi-cam sitcom.
  22. Prey, director Dan Trachtenberg’s addition to the Predatorverse, isn’t just an intriguing expansion of the series or a cool intellectual-property detour; it’s something close to a B-movie masterpiece, a survivalist thriller-slash-proto-Western-slash-final-girl horror flick that, like both its iconic alien and its indigenous Ripley 2.0 heroine, is extremely good at what it sets out to do.
  23. The amount of casual charisma and commitment Pitt is bringing to this is the one thing that actually differentiates this from being just another stylishly lit, stupid-hip snarkfest.
  24. Vengeance exercises [Novak's] knack for making unappetizing social qualities watchable, maybe because he’s playing a character whose self-confidence you don’t really believe in, or maybe because you already know that the movie will make him the butt of some of its rudest jokes.
  25. There’s a genuine sense of admiration for these two middle-aged characters emanating from behind the camera, and you get the feeling that Walker-Silverman, a young filmmaker with a handful of shorts to his name, isn’t that interested in too-cool-for-film-school showboating.
    • 62 Metascore
    • 50 Critic Score
    In the end, it’s not just that you’re watching a satire sans teeth — it’s more like you’re sitting through a version of Shattered Glass where Stephen Glass feels kind of bad about all those stories he made up.
  26. This is a movie that knows the power of images. It has learned, from the greats of the genre, that what we fear most is what can’t be seen, what’s merely implied.
  27. The cast puts its effort into a slightly less underwhelming movie, one a little more willing to engage this gallery of personalities, which, insofar as they’re based on the characters in the novel, are just engaging enough to watch this once and never think about again. Austen works hard. But mediocrity, this movie reminds us, works harder.
  28. It’s a perfectly good rockumentary. It may be an even better group therapy session, led by one person’s unfiltered experience down in a hole yet resonating as deeply for anyone else still struggling to lift themselves up. Welcome to the club.

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