Rolling Stone's Scores

For 3,951 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:
3951 movie reviews
  1. What’s missing is history. What’s missing is a sense that men like this really lived.
  2. The out-of-bodiness you feel from the filmmaking is almost more unsettling than the actual story. It’s pure cinematic dysmorphia: to watch this movie carefully is to feel completely out of place, right alongside the people onscreen.
  3. It’s a little zany, a little blue, emotionally jagged, adventurously all over the place. If you’re a romantic, though, the movie’s inciting incident — the bomb that detonates all the problems to come — probably plays like something closer to a scene out of a horror movie.
  4. You can feel the narrative hitting predictable beats like it was upshifting an ATV’s gears, from infatuations with the outlaw life to blowing off good influences, getting sucked into the game to bad decisions leading to bodies dropping.
  5. For all its playfulness, it’s the real, stinging, joyful, inconvenient reality of life that Dick Johnson Is Dead gives us. It’s a committed act of preservation: a looping, reeling, repeatable act of love.
  6. Somehow, amidst all of the shifting perspectives and timeframes and overall blurring of lines, it also manages to move you to tears even as it leaves you bewildered and unmoored.
  7. Tenet sweeps you away on waves of pure, ravishing cinema.
  8. This teeming film sometimes bursts at the seams, but it’s abound with an exuberant energy that honors Dickens without embalming him in the literary past. It’s irresistible.
  9. The expression here is one of shared humanity regardless of background, gender identity, race or creed. The common language being used here is cinema.
  10. Even in these pandemic times, when we all hunger for escapism, this long journey to a lame ending hardly fills the bill.
  11. Whatever this eye-popping head trip lacks in plausibility, it makes up for in flash and a sense of a world spinning off its axis.
  12. Even marking on a B-movie curve, Unhinged is running on empty.
  13. The 24th has its share of unevenness. It also has the blessing, and the curse, of necessity. It’s a story that has to be retold.
  14. The film is torn between a tough-minded plea for animal rights and edge-free, PG family entertainment. But its advocacy of kindness to man and animal is indisputable.
  15. A striking film that frustratingly never coheres but still holds you in thrall.
  16. Though Yeon can still deliver memorable frights, like the car horn that literally does wake the dead, he can’t decide what kind of movie to make. So he does a genre mashup, tops it with a sappy ending, and hopes for the best. The result is decidedly uneven.
  17. You’ve seen this before. Think of it as a potent dose of sci-fi/horror Methadone to keep the withdrawals at bay.
  18. Forget who wins or loses, Boys State is about that promise of change in the air. And it’s exhilarating.
  19. Mostly, it’s a testament to a storied legacy that may be gone, but deserves never to be forgotten.
  20. The mutual grief and abiding love felt by the Irish actor, 68, and his son, 25, cuts close to home and brings the film a touching honesty it otherwise sorely lacks.
  21. La Llorona is the kind of tale of mystery and imagination that prefers to get under your skin rather than shock your central nervous system, which only makes its near-suffocating feeling of foreboding more potent.
  22. Rey deserves credit for comic observations that sting.
  23. The desert outpost, mostly shot in Morocco by the gifted cinematographer Chris Menges (a two-time Oscar winner for his camera work on The Killing Fields and The Mission), becomes a powerful symbol of human decency trying to hold out under the brutal siege of alleged law and order. It’s thuddingly obvious who the real barbarians are.
  24. Blunt honesty and rare introspection sets Howard apart from the usual cut-and-paste trips down memory lane.
  25. Still, a movie that even glancingly grapples with questions of ethnic and spiritual identity, past and present, is hardly hack work. It’ll do in a pickle.
  26. The Fight may be cursed with a generic name. But it’s a 100-percent accurate one.
  27. It feels both timeless in its ability to channel a universal fear of mortality and if it has arrived, regrettably, right on time.
  28. A sweet, soft-centered pastoral drama that’s never as tough-minded as you want it to be. Thankfully, in her feature debut as a filmmaker, playwright Jessica Swale shows a genuine flair with actors.
  29. The doc’s goal: Don’t think of the Go-Go’s as a bit of Reagan-era nostalgia, the musical equivalent of a Rubik’s cube. Think of them as a first-tier, kick-ass rock group, period, full stop, the end. Mission accomplished.
  30. The movie’s ambitions exceed its grasp, and it’s hard not to wonder if the ideas here might not have been better served in a shorter, tighter format.

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