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. Come for the snickering, it seems to say. Stay for the unexpected lump in your throat.
  2. The choices that King and Hoover make relative to the public pressures they applied to one another only serve, in Pollard’s recounting of this bitter history, to twine these men together ever so tightly. This is all part of what gives Pollard’s film its deafening urgency, its tingling aura of imminent danger.
  3. One Night in Miami is an act of imagination. It does not reinvent the wheel. It polishes and clarifies the spokes — all while moving and entertaining us in the process.
  4. It works far better as a partial document of life under lockdown than as a genre mash-up.
  5. While this mix of thrills, chills and eyeroll-inducing WTFs is an inauspicious way to start a moviegoing year, it’s the type of viewing lark that works best through the haze of a long day’s journey into last night’s hangover. It isn’t bad. It should be better.
  6. Pieces of a Woman largely belongs to the woman on the verge of a nervous breakdown at its center, however, and it’s Vanessa Kirby who gifts the film with The Performance.
  7. One the feats of McQueen’s movie is that, by the end, the ability to read — proof of having been educated — is all the more powerful for seeming exceptional.
  8. This movie, like Hanks and Greengrass’s Captain Philips, only excites — quite capably — when it needs to. Greengrass’ trademark efficiency as a storyteller is very much here. But more often the movie sticks to the contemplative: a moody character study with dashes of hillside danger and inner turmoil and post-war social conflict and all the rest — the allspice seasoning of the adult western genre.
  9. The movie is sturdy and stylish, full of ideas and fun to watch, strange as it may seem to say. If it doesn’t always maintain the sharp effectiveness of its opening, it’s proof of a writer-director willing and able to stay ahead of the curve.
  10. When the spell gets broken, temporarily or otherwise, it’s easy to be overwhelmed by the craft and care of this affectionate reclamation and still feel that all the swooning that heaven allows is almost, but not quite, enough.
  11. The Midnight Sky is a good example of a movie that sells itself short by trying to be one thing — serious, heavy, emotional — when, by all available indicators, it should be more of a thriller, or more ridiculous, or at the very least more fun.
  12. There are many elaborate lessons on life and how to live it in Soul, though its best may ironically be its simplest: Look. Listen. Learn. Enjoy. You may not turn the film off with an answer to what a soul is. But you may find yourself wondering if you’re forgetting to occasionally connect with your own.
  13. If Alex Wheatle proves less powerful than the other films in this series, that’s in large part because of the strengths of the series. Every entry in Small Axe is a study in expansive miniatures. None of these films flexes its muscle by way of length. They burrow. Alex Wheatle’s primary imperfection is that it almost doesn’t burrow enough. The intricacies of Wheatle’s inner life feel almost rushed through or limited in their illustration. I wanted to know more about this young man — which is also a sign that the film is doing something right.
  14. Courtesy of the stars, and of the filmmaker’s clear affection for her subject, there’s a little more soul here than there had to be, thankfully. That’s not everything. It’s also not nothing.
  15. The movie comes not to bury this legend but to praise him. Inhuman endurance or not, you worry it may end up having to do the former regardless.
  16. For all the majesty and naturalistic realism of its imagery, Nomadland is nevertheless full of sublime, uncanny details that lift it somewhat above the fray.
  17. Here’s McQueen working in one of his most exciting modes as a director: cool anger. In contrast to the passionate political thrust of of Mangrove and the heated groove of Lovers Rock, Red, White, and Blue is wrought of images that feel clinical and removed — until you mash them together into a movie. That’s when the hellmouth cracks open, and all the seeming poise at the movie’s surface is revealed for the disguise that it is. The studied symmetries, the visual confrontations marked along racial lines, all of it is expressive, and much of it works.
  18. This is what it looks like when you Glee a beloved Broadway production to death.
  19. If you’re willing to be patient, the characters become richer, the narrative takes more risks and the set pieces are more enthralling, like an engrossing disco sequence and a lumbering car chase in giant, period-accurate sedans.
  20. Watching Collective when it premiered on the fall festival circuit last year, it was easy to see that it should be considered a flat-out masterpiece regardless of timing. Yet to watch it, or rewatch it, now is to experience something even deeper. It’s a story of a nation’s inability to take care of its citizens that comes to us in the middle of a pandemic that’s crippling America’s economy and killing its citizens.
  21. How can you recreate the first Ziggy concert in 1972 at Borough Assembly Hall, Aylesbury, and fail to evoke even an ounce of the moment’s dynamism even when you have the moves down? Does Stardust exist solely to make Bohemian Rhapsody seem better by comparison? Why are we still watching this?
  22. This movie’s primary strength is in Wilson’s words, his facility with ideas and symbols and attitudes, and what the actors do with all of the above. The movie, as a movie, has its limits. But Wilson’s material remains unbound.
  23. Winter’s impressive doc admittedly works better as a preaching-to-the-choir portrait than a work of advocacy or conversion. But it is one hell of chronicle of Frank the Walking Contradiction: He was a rock star and a symphonic composer.
  24. The movie feels at times like a miracle — not least for what it does not do. McQueen’s ability to render a universe of incident and emotion out of granular details, sounds and visions that feel specific and fully lived, should not surprise us at this point in the career. This is a director whose work has long displayed an ability, and a fascinating eagerness to display, the power of dramatic tangents and uncanny effects of sound and image.
  25. It’s not a knockout, but the actors frequently are. The rest is an exercise in not overdoing it. It’s here, it’s queer, it’s not much else — and that’s OK.
  26. There’s something stealthy in its awareness, in the ways it accrues crumbs of insight and observation and dispenses them throughout the narrative without us even noticing. You emerge from the movie with an enriched, nearly felt sense of the Mangrove as a place, not just as a symbol.
  27. If Belushi does nothing else, it does a fine job of scaling him back down to size without giving his immense talent short shrift.
  28. Sound of Metal understands the importance of immersing you in this brave new noiseless world and giving you a compelling Virgil to guide you through it, but its real strength may simply be its powers of observation.
  29. Run
    Forget the title; the film barely works itself up into a half-hearted trot. It isn’t even howl-worthy in its campiness or badness, with one notable exception.
  30. It’s a clever mash-up conceit that director/co-writer Christopher Landon and his cast milk for all its worth, none more so than the two leads.

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