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. The movie sometimes feels a little caught up in its own virtuosity. But the actors, Covino and Marvin — a sentient grenade and spineless but loving worm, respectively — keep it lively and make it meaningful. If the movie succeeds in surpassing the exercise it easily could have been, it’s because of them.
  2. Among Fincher die-hards, the result will probably bemuse some, bore many, and thrill a relative but hearty minority. Count me in the minority.
  3. It’s not hard to be sympathetic to Let Him Go’s desire to broaden, drift, be all-encompassing; that’s what yarns are good for. It’s what makes the movie an okay hang as is. And it’s also what may make you crave a better movie.
  4. We sing O’Connell’s praises so loudly because he’s really the only reason to check out Max Winkler’s tale of blood bonds, brotherly love and bloody bareknuckle bouts, and to remind you that sometimes, even the best and brightest can’t save something so banal and by-the-book.
  5. What Ammonite needs is to dig deeper and imagine more — to find a Mary Anning of its own to excavate what’s hidden inside it.
  6. The basic spell remains the same, updated for the age of inclusivity, toxic masculinity and Princess Nokia. The magic, however, is M.I.A.
  7. There are much worse things than semi-stylish, slightly generic horror films, especially those channeling the sort of moody children’s-lit work of authors like Maurice Sendak (an alt-title: Where the Wild Things Scar?) in the name of creepiness. There are also better movies to seek out in the name of mining childhood for nightmare fodder.
  8. His House is a strong debut, and exciting — even as its horrors risk redundancy as the film wears on — for its uncanny merging of political experience and the usual, perilous haunted-house thrills.
  9. Fire Will Come is a movie that will go down easy for the right viewer, a movie strangely energized by an unexpected dash of suspense. But the film’s ideas, the questions it sends aloft as we watch, remain stuck in our throats.
  10. What’s dredged up by every bit of the film’s fabric and style is a sense of isolation.
  11. The filmmaker has given us a pitch-perfect, punk-as-fuck portrait of a movement. She’s also reminded us that, regardless of bygone victories, the fight still goes on. Here’s a blueprint for resistance.
    • tbd Metascore
    • 60 Critic Score
    The magnetism of Goggins keeps this vehicle from running out of gas.
  12. This is a perfectly fine postapocalyptic mash-up that really is just the sum of its parts, and nowhere near a gleeful, shriek-inducing whole. For some, that might be considered a feature. For the rest of us, it’s most definitely a ginourmous, gaping-jawed bug.
  13. What distinguishes this documentary from other movies about mass incarceration is the novelty with which Bradley subverts the mass and trains our eye, frequently literally, on the particular.
  14. Version is, unabashedly, a crowd-pleaser — one that arrives at a time when the crowd could use some pleasing. But it’s as thoughtful and, in the way only great comedy can be, soul-baring and honest as it is funny throughout. It signals the arrival of a great movie talent. The joke is on us if we don’t keep her around.
  15. It’s the personal demons rather than old-fashioned monsters that get you, see, which is one of two central tenets of Cummings’ genre exercise/portrait of a fuck-up mash-up.
  16. Totally Under Control is very much in control: It makes the whole of this crisis feel explicable. That proves frustrating. With the tragedy of the pandemic still ongoing, and thus still fresh, it also proves gratingly impersonal.
  17. Like the late Jonathan Demme, director of Stop Making Sense, Lee is here not just to document but to heighten. There are close-ups on Byrne’s face, his eyes, even his feet; dynamic roving views from onstage and off; a keen awareness of the audience. And, of course, there’s the thrill of seeing people standing up in their seats, clapping along, silhouetted against Byrne’s bright, inviting presence onstage. All of it lends a sense of alive-ness to this live performance.
  18. It’s 94 minutes that you won’t remember seconds after its over. You could always just throw down the white flag before shots are fired and save yourself the trouble.
  19. Unlike his previous action films and pulpy crime flicks, there’s neither enough grade-A live-wire dynamism nor giddy, guilty-pleasure cheesiness (seriously, have you seen Non-Stop?!) to make this movie actually move. It’s a safecracker-versus-corrupt-feds thriller that’s just north of somnambulistic.
  20. Mulan emerges as a curious act of market negotiation. It is a perfectly fine movie; it will no doubt be meaningful for children, especially those who could afford to see more of themselves onscreen in heroines like Mulan. But its cast, its attitude, its overall eagerness to please — all benefits, one would think — don’t add up to a good movie. They add up to a blueprint of the movie this ought to be.
  21. It’s a portrait of girls that decries how sexuality is force-fed to them and/or viewed as the only way to foster self-esteem at far too young an age. It is the polar opposite of what it’s accused of being.
  22. It grows thrilling to watch. Rathjen’s careful script and intensive eye for environmental details deliver all of this to us with a steady rhythm.
  23. Bolstered by the strength of its admirable and talented cast — which includes Kiersey Clemons, Gabourey Sidibe, Jena Malone, Tongayi Chirisa, and Jack Huston — the movie is good at getting a good number of ideas going at once.
  24. There are too many splendid little touches in this tale of letting go to dismiss it entirely, and too many latebreaking wrong turns it takes to completely forgive it. What you’re left with is the cinematic equivalent of a clipped-wing plummet.
  25. The Devil All the Time has the pretensions of a mythopoetic story that’s chipping away at a community’s dark underbelly. But here the misery is as belly-up and eager to be noticed as a house cat or a dead fish.
  26. Law and Coon aren’t the only reason to see Durkin’s marital nightmare of a movie, but they are the main reason to see it, and both of them give these characters so much shared history communicated without saying a word.
  27. Residue is the kind of movie to make you wonder what may have changed in D.C. during even the short span of its own making. Gentrification works quickly; it arrives buoyed by a whirlwind sense of the rug being swept from under residents’ feet. These are details Gerima builds into the movie based on his experience of leaving for just one year. Jay is returning after time in college. One can only imagine his shock.
  28. Brown has such a natural wit and compelling screen presence, such an ability to shift from curious youngster to screwball comic to charismatic action hero on a dime, that it’s hard not to view Enola Holmes as a coming-out party of sorts.
  29. Kajillionaire feels in some ways like a relic, harkening back to the recent past of indie quirk but dressing it up in the pain of overgrown kidulthood. The difference between July’s work and those other movies is that the quirks aren’t a mere matter of personality or window dressing, but evidence of a way of being in the world that, to the majority, isn’t quite right.

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