Rolling Stone's Scores

For 3,330 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Insider
Lowest review score: 0 Terminal
Score distribution:
3330 movie reviews
  1. Written and directed by the bracingly brilliant Joanna Hogg, this delicate, dazzling memoir traces her own origin story, and there is something superheroic about her struggle to look back without hitting the brick wall of formula and weepy nostalgia.
  2. There’s such beautiful artisanal touches that Russo-Young adds to what could have been a standard YA-lit flick and so much that the actors do with scenes of people just talking that you can’t write it off. And there are too many dramatic moments that flatline when they should spike, too many plot turns that feel false and too much reliance on “coincidence” as some higher-power string-yanking to say it completely works.
  3. Wick 3, starring Keanu Reeves in the role he was born to play, hits you so hard in the thrill zone that instead of feeling exhausted when director Chad Stahelski calls a halt at 130 minutes, you’re panting for Chapter 4.
  4. If nothing else, Charlie Says puts Van Houten, and to a lesser extent her sisters in crime, in the center of their own story.
  5. A bit of a stiff as cinema, rich in atmospherics but starved for the human spark that might uncover the man behind the myth.
  6. Branagh’s performance is a triumph of ferocity and feeling that shuns Shakespeare the literary rock star to find the flawed, touchingly human man inside.
  7. They say it’s all in the timing, especially when it comes to funny business. But in The Hustle everyone’s inner comedic clock is calamitously off. The setups are flat, the jokes don’t land and the actors don’t — or won’t — connect.
  8. It’s clear that a verité, fly-on-the-wall record of these SNL livewires on vacation would have made a hilarious documentary. What we have instead follows the Sitcom 101 formula.
  9. Pikachu Detective does not make it easy to get on board. It’s not here to convert — it’s here to preach to the already converted. You the viewer may choose this movie even if you aren’t a Pokéscholar. That doesn’t mean it’s willing to choose you.
  10. In his second film as a feature director, following the mess that was "Book of Shadows: Blair Witch 2," Berlinger loses his way in a game of let’s pretend that ends in a tangle of tonal shifts and missed opportunities.
  11. The famous Assayas light touch keeps his film above the fray of didacticism. So dig in as an expert cast puts a scintillating spin on every verbal volley. Non-Fiction is a bonbon spiked with delicious wit and malice.
  12. Shadow isn’t a bad epic so much as a banal one.
  13. The fighting spirit of this female quartet blazes through every frame of this galvanizing film. “We did this without knowing shit,” says Vilela. That’s just a beginning. Way before the movie ends, you’ll feel their fire.
  14. The result is a gleefully retro and raunchy funfest that walks a minefield of sexist traps it can’t always dodge. That the rom and the com both land is a tribute to Theron and Rogen.
  15. Part thriller, part meditation on life and art, part portrait of a man on a tightrope, The White Crow may be juggling more themes than it can handle. But Fiennes makes the result a thing of bruising beauty and an exhilarating gift.
  16. It’s a love letter — to New York, to the bohemians and musicians who still live there come hell or high water, to the art of crafting a damn fine customized Stratocaster, to taking pride in your work, to shooting the shit and most importantly, to finding a place for fellow freaks and misfits to call home.
  17. The movie hits you like a shot in the heart.
  18. While the movie also offers a much-needed context of the “Satanic panic” of the ’80s and ’90s — backwards messages and heavy metal and Dungeons & Dragons, oh my! — as well as vintage afternoon-TV handwringing and glimpses of organizational in-fighting, it’s these scenes of folks engaging in real political showdowns by any ridiculous means necessary that give the movie its sense of currency.
  19. But fantasy elements aside, this Disney movie has the one essential that makes a nature documentary fly: a thrilling sense of wonder.
  20. The film’s most powerful asset is Thompson (Sorry to Bother You, Thor: Ragnarok) in a performance that cuts through the script’s cliches to find the heart of a character that reflects the plight of a woman alone in a man’s world.
  21. The tightly-focused origin story of Ruth, played with ferocity and feeling by Gugu Mbatha-Raw, is still one hell of a heroic odyssey.
  22. The movie nearly killed him (Gilliam). Yet the victory isn’t just that he finished it, but that he’s fashioned something so magnificent in its messiness. He should be proud as well as relieved. The impossible dream is dead. But long live The Man Who Killed Don Quixote.
  23. Not even the haunting images and Garfield’s haggard intensity can disguise the gaping void where the film’s soul should be. There’s no there there.
  24. The dialogue starts at risible and descends from there.
  25. This is where Fonte comes in. An actor who can make Marcello seem like a pitiful beta-male grotesque one second and a noble, sympathetic hero the next, he’s the thrumming motor behind this fairy tale of dogs and monsters. It’s hard to underestimate how his award-winning performance — good call, Cannes Film Festival — shapes the film and sets its humanistic tone.
  26. The movie pulls you in through the sheer immersive force of its filmmaking. In Long Day’s Journey, the search is everything with meaning as elusive and haunting as a dream.
  27. Still, the moments that hit hardest concern Leo’s relationship with Ahd (a very fine Eric Bernard), another male hustler who claims he’s only “gay 4 pay.”
  28. Alternately smarmy and achingly familiar, Little squeezes "Big" for one more run through the Hollywood grinder.
  29. Hellboy wants to remind you that this Dark Horse Comics brute with a soul still deserves a place in the superhero-movie ecosphere. It ends up simply being a franchise reboot damned to be restaged as its own bloody hell. Some things are better left dead.
  30. Her Smell is a berserker infused a mad poetry. In her third film with Perry, following "Listen Up," "Phillip and Queen of the Earth," Moss takes a character who makes Courtney Love look like Mother Teresa and exposes the shards of humanity that once vitalized and defined her music. The effect is shattering.

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