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. There is so much dead space between the death-defying set pieces that you can feel things grinding to a halt long before the next adrenaline spike hits.
  2. The creative workaround does drop you into the middle of the shady-as-hell action in a way that, say, recordings playing over a close-up of a grainy photo does not. But it also starts to become more than a little distracting, and you find yourself tuning into the performances instead of the particulars of the case.
  3. The movie is so overbearingly high on its own fizzy, clever stylishness that it strands the heart of its own story.
  4. This is a film steeped in myth and ritual, besotted with secrets, history, and imagination — with a clear eye on the Ivory Coast’s politics.
  5. The World to Come is full of inversions, deviations from the usual themes, complicated as it is by interlocking contrasts, unexpected emphases. This is a movie in which love springs in winter, whereas spring beckons devastation.
  6. Chaos Walking doesn’t even get to the level of high camp, where pleasure is found in the sheer badness of it all.
  7. As a traditional, accessible, familiarly-structured crowdpleaser, Boogie, in its modest, far-from-flawless way, challenges them to enjoy one as well.
  8. Coming 2 America is a good time — even more, it’s evidence that this actor-director pair are on the verge of something great.
  9. And while the action-set pieces and stand-offs and Raya–ders of the Lost Ark sequences are indeed thrilling, it’s the buddy-comedy aspect that actually makes the movie come alive.
    • 62 Metascore
    • 70 Critic Score
    We have plenty of information about the idea of the Notorious B.I.G., but Biggie: I Got a Story to Tell offers a rare look at the actual human being behind the legend.
  10. An all pain, no gain, minimal-reprieve character study completely unaware of the ways its selling the singer short.
  11. As for viewers, well … whoever won in the endless round-robin of interspecies chicanery, we all lost.
  12. The ending, depending on you, may come off as either too neat or appropriately revelatory. But the film’s emotions have a stark, memorable sheen.
  13. An intriguing stab at modern Hasidic horror — we smell a burgeoning subgenre — The Vigil will feel like well-trod ground to anyone who’s seen a few supernatural thrillers; only the neighborhood has changed.
  14. Test Pattern, for its emphatically binary sense of the world as summed up in the differences between these two people, for its literal examinations of blackness and whiteness, and gender, and everything else, somehow avoids falling into the trap of painting the world in black and white. It is a film that — more than presenting the mess of the life — dives in headlong, wisely, cuttingly, and to devastating effect.
    • 53 Metascore
    • 80 Critic Score
    The film is well-paced, tightly edited and engaging, and at times, it’s quite inspiring.
  15. See the movie for the performances and the concept — and watch it closely for the potential it contains, but doesn’t entirely exploit.
  16. As a film about two gay men in their middle age, Supernova does all the right things, anchors its sense of conviction in rhythms and silences, in-jokes and private conflicts, that cohere into a natural portrait of being together. In a word, it’s a solid, emotive drama, all the more so for the pain at the movie’s center being equally natural, valid, inevitable.
  17. Kevin Macdonald’s drama is determined to put a name and a face to the legion of largely anonymous casualties of the War on Terror — not the victims of attacks, but the other ones, i.e. mostly Middle Eastern men who, by some circumstantial evidence, slivers of association or maybe just their nationality, became wards of the state held in a perpetual purgatory.
  18. Judas and the Black Messiah can’t do everything. What it accomplishes is nevertheless quite something. It is a bittersweet compliment to what’s here that we end the film wishing it’d done even more.
  19. The purposely messy, garish and disposable comedy from Bridesmaids writers Kristen Wiig and Annie Mumolo, who also star as the fortysomething Midwesterners of the title, is so determinedly low-stakes that to quibble with its candy-colored craving to be liked is to be a terrible killjoy.
  20. There’s a words-escape-me, tingling, offbeat something about this movie that reels you in — a something dimmed, maybe, by the brunt of the film so clearly guiding us toward this impression. Once it gets there, it doesn’t quite know where to go. Wit gives way to enervation.
  21. It’s a genuine revelation, and the sort of holy terror that restores your faith in a genre.
  22. The black-and-white glossiness of it, the close-ups, the knock-down drag-out verbal tussles: This is the kind of movie that practically begs comparison to John Cassavetes, while also giving us a lead character who’d berate us for making the comparison. It gets a little boring. Turn the movie off at the 20-minute mark and you can ultimately still say you’ve seen the entire thing.
  23. The Little Things settles sleekly into its place as a movie of the week. That’s a satisfying enough ambition — even as the actors onscreen give performances that point to a richer, wilder movie.
  24. Bahrani’s take on Balram’s present-day circumstances is eventually so restricted to the beginning and end of the film that it begins to feel like a foregone conclusion, rather than like the curiosity that it is.
  25. Notturno is not journalism. Yet from its very outset it raises the same questions about itself and its own making, about the film’s ability to show what it shows, because what it shows is often so immediately intimate — private to the point of making a viewer want to avert their eyes.
  26. This is a passable substitute for the real thing. It could have burrowed so much deeper.
  27. It’s the kind of alchemy achieved when an artist has his or her vision brought to a larger audience by someone who understands exactly what they’re doing. It’s a testament to the power of the material and the determination of its interpreters to not dilute it one ounce.
  28. Not a great movie, but courtesy of director Robert Lorenz, a lean, plausibly entertaining one with all the fixin’s and none of the extra flab of deep, incisive meaning. It’s a buddy movie, a cartel chase, a sentimental redemption story. It’s a comfort watch.

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