Rolling Stone's Scores

For 3,953 reviews, this publication has graded:
  • 58% higher than the average critic
  • 3% same as the average critic
  • 39% 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:
3953 movie reviews
  1. Recommending that someone actually subject themselves to Roland Emmerich’s sci-fi neo-disaster flick, however, is a little like shoving three-month old milk under an unsuspecting person’s nose and inquiring, Does this smell ok? You already know the answer; you just need to share the pain.
  2. Forget the title: Jackass can’t go on forever. Just enjoy one last chance to see these beautiful f*ck-ups do what they do best before they limp and hobble off into the sunset.
  3. The Tragedy of Macbeth is Joel’s first outing on his own but, in this regard, he’s made a movie that suits the broader world of his work. That he’s done so most cogently through a character most other approaches to this play have barely noticed only makes it that much more thrilling.
  4. For a long stretch, Italian Studies turns this trip down memory-loss lane into a low-wattage livewire, an unpredictable stroll into the unknown. Its hero will slowly, eventually come back around to remembering her life before the reset. The movie itself, however, is unforgettable from the jump.
  5. Yet you have to applaud how boldly this fifth entry tries to flip the bird to the entire rinse-repeat-regurgitate idea of trapping film series in amber, while also delivering you the thrill of the familiar and those dopamine bumps that come with the pang of recognition.
  6. There’s so much wasted potential here, so little sense of how to get across a notion of solidarity in the face of catastrophic danger, and sexism, not in that order.
  7. For those of us who’ve been enthralled by what Collins has done on the periphery, the chance to see him occupy center stage — and in something so suited to his skill set — is enough to make this worthwhile. But the way in which he keeps both the rest of the cast and the story itself in the pocket without making it feel like a showreel, even down to his final here’s-the-big-payoff sequence, is what makes this special.
  8. Cyrano may sometimes feels like its struggling to find a way to say something new about a beloved, centuries-old work of art, one that’s been updated and deconstructed and reconstructed ad infinitum. Once the sex-symbol movie star starts whispering in its ear what to say, however, and how to act, and why it’s the well-spoken sadness of it all that makes it so swoonworthy — those are the moments that make this musical positively sing.
  9. Colman brings Ferrante’s creation to life with all the withering pathos she deserves. Gyllenhaal catches it handsomely, awe-struck, as if even she didn’t know how painfully real this woman Leda could seem or, in Colman’s hands, be.
  10. It’s a disaster movie in more ways than one. Should you indeed look up, you may be surprised to find one A-list bomb of a movie, all inchoate rage and flailing limbs, falling right on top of you.
  11. I was moved, impressed — far more than I expected to be. The emotional engineering of The Matrix Resurrections is exacting and rapturous.
    • tbd Metascore
    • 60 Critic Score
    The visual style, free-flowing and light on talking heads, gives the film a level of authenticity that feels lived-in. The visuals do the explaining for you, allowing you to come up with your own thoughts and conclusions.
    • 70 Metascore
    • 70 Critic Score
    You can always count on del Toro to put the “grand” in Grand Guignol. Nightmare Alley is no exception, though it’s a little dreamier than it should be.
  12. As with his Trial of the Chicago 7 film, Sorkin seems to view history as the fodder for working with A-list stars and scoring ideological zingers. Mission accomplished, we guess. At a certain point, however, you really wish the film would stop ‘splaining its creator’s viewpoints and start actually being about its subjects.
  13. No Way Home is a perfectly fine superhero movie.
  14. This West Side Story proves someone can still leave their mark on the legend without building it from the ground up. It’s a classic Spielberg joint, a classic hat-tip to Hollywood, and a classic, period.
  15. The movie may want you to see the best of us in the dingiest of places. But you’re as delusional as Mikey Saber if you think it will avert its eyes from showing us the worst of us as well.
  16. Every one of the performances is, to say the least, an example of what talented actors can bring to a piece of character-driven tragedy; there’s not a single weak link in this chain, while the collective chemistry suggests an instant history of affection, conflict, and shared cringing.
  17. Anderson may be concocting his own personal flashback to a funkier age of innocence, but he lets these two make it their own double-act as well. Then he generously invites an audience in as well.
  18. With House of Gucci, you get a jumble of stories jockeying for screen time, and then you get a supernova blazing at the center of all of it that burns everything superfluous away. If the film is remembered for anything, it’s for being Exhibit A as what a great actor she is. Forget Gucci. Long live the house that Gaga built.
  19. Deeply felt sincerity of the kind that Mills offers can be a tough pill. You kind of have to be in the mood. But this isn’t a film that works despite those excesses. Instead, it makes a case for them.
  20. It’s a harrowing documentary, to be sure, but also healing in a way that doesn’t go for easy emotional button-pushing, or play down the white-knuckle struggle they endure while processing all of it.
  21. Despite its well-worn triumphant narrative, King Richard proves convincing at giving credence to the idea of Williams as a fact already stranger than fiction — the kind of man you can’t help but feel is a real character, in the everyday-life sense of that phrase: a one-of-a-kind guy, hard to reproduce.
    • tbd Metascore
    • 80 Critic Score
    Epstein and Meek’s nonfiction effort functions as a portrait of unconscionable bureaucratic wrongdoing as well as an attempt to restore the reputations of four men who suffered unjust fates in both life and death.
  22. You can look past it muting the spiky chemistry of Rudd and Coon, who deserve more scenes and their own rom-com together, or the way the narrative’s father issues feel so incredibly forced, or how so many of the sequences appear to simply be killing time until the final act. What’s less forgivable is the way that it gets so caught up in the mythology of its hollow nostalgia that is misses why the original meant so much to so many of us way back when.
  23. It’s a memory piece, evoking a specific time, place, and political crisis in a way that is indelibly, achingly personal.
  24. There’s something incredibly deflating about all of this, from the waste of precious screen-talent resources to the sense that you’re watching the last gasp of an age-old formula. It is like staring at a bright, shiny epitaph for two hours.
  25. The Harder They Fall is a good piece of wish-fulfillment pop. It knows what it is. It’s accomplished enough not to be mistaken for what it isn’t trying to be.
  26. The whole thing feels so stiflingly familiar that you wonder what has more spare parts, the robot or the movie it’s in.
  27. The temptation is to wish that Wright had simply made a horror movie set in the Sixties, that he’d streamlined things a tad more and simply kept his revisionist look at the Carnaby-and-cocktails glamorous life in that bygone moment. But he’s after something a little bigger, and if Last Night in Soho comes across as being stuck in a tonal interzone, you have to admire how Wright is so intent on drawing a line between then and now.

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