Empire's Scores

  • Movies
For 4,888 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Aliens
Lowest review score: 20 The Adventures of Sharkboy and Lavagirl 3-D
Score distribution:
4888 movie reviews
    • 71 Metascore
    • 80 Critic Score
    Unbearably tense and thematically rich, this feels like an entirely fresh take on a 123-year-old story.
  1. It’s not as effective as Mandy or The Mist, both of which it evokes at points. But Color Out Of Space is still an audacious and admirably out-there attempt at cosmic horror.
    • 83 Metascore
    • 80 Critic Score
    A compelling, grubby outback Western revealing the ragged reality behind a folk hero. Terrific performances, incredible visuals, and a reassertion of Justin Kurzel as a bold filmmaker most comfortable dealing with discomfort.
  2. A bizarrely strait-laced project for Todd Haynes, Dark Waters lacks dramatic oomph but compensates via a well-mounted telling of a terrifying story, driven by still contemporary concerns and a convincing central turn by Mark Ruffalo.
    • 95 Metascore
    • 100 Critic Score
    There are theme-park rides; there is cinema; there are sacred love poems to take with you for the rest of your life. Thank you for giving us the last one, Céline Sciamma.
    • 49 Metascore
    • 60 Critic Score
    Like a lot of remakes, Downhill doesn’t quite make the argument for its existence. But career-topping performances from Ferrell and Louis-Dreyfus and an unusually frosty comedic tone make this a mostly rewarding day on the slopes.
    • 63 Metascore
    • 100 Critic Score
    Pixar returns with a great big power-chord of a movie — heart-pumping, resonant, and positively harmonious.
  3. Like Maximus, the hero who inspires the theme of its pivotal party, Greed will keep you entertained. But patchiness and occasional preachiness mar a clearly heartfelt message movie.
  4. A sentimental but solid dependable retelling of an oft-told tale, it doesn’t do anything radical with the material but gets by on well mounted set-pieces and Ford’s grizzled gravitas.
    • 60 Metascore
    • 60 Critic Score
    By eschewing fast-paced suspense Hausner takes the sting out of her story, instead showcasing a bold aesthetic sense that feels like an exciting taste of what’s to come.
    • 33 Metascore
    • 40 Critic Score
    Haddish and Byrne play to their comedic strengths but Like A Boss falls foul of formulaic writing and a mistrust of the genre’s full potential. Stick to its groundbreaking peers for a taste of something sweeter.
    • 61 Metascore
    • 40 Critic Score
    Dull and often exploitative, Daniel Isn’t Real coasts on the familiar faces of its lead actors while wasting their potential.
  5. Strongly performed by a fresh-faced cast, A Paris Education is familiar and doesn’t completely grip, but is an enjoyable celebration all the good things in life; films, arguing about films, friendship, love, politics and Paris.
    • 54 Metascore
    • 60 Critic Score
    It’s not quite as fresh or fun as the first film, but P.S. I Still Love You still has plenty to love about it – not least another loveable performance from Lana Condor.
  6. Sweetening up a smidgen without chilling out, this is Miike having fun, bombarding us with squirm-inducing violence while making us laugh and — ever so slightly — tugging on the heartstrings.
  7. It should be a delicious chocolate gateau but Emma. makes heavy weather of Austen’s charmer, delivering a tonally uneven, mostly airless affair. Amy Heckerling’s Clueless — Emma in the Valley — remains the big screen benchmark.
    • 47 Metascore
    • 40 Critic Score
    An on-form Jim Carrey can’t stop Sonic’s live-action debut from feeling like a missed opportunity. If the teased sequels do materialise, here’s hoping the storytelling levels up.
  8. It’s messy, with a middle section that sags, but Birds Of Prey has vibrancy, anarchy and balls to spare. Harley and Joker are dead. Long live Harley Quinn.
    • 96 Metascore
    • 100 Critic Score
    A miracle of a film. It feels like Bong Joon-ho’s already extraordinary career has been building to this: a riotous social satire that’s as gloriously entertaining as it is deeply sardonic.
    • 65 Metascore
    • 60 Critic Score
    Although certainly an insightful study of the pop star’s populated psyche, Miss Americana is more of a mid-album track than an anthem. What could be raw and rowdy instead feels like an entertaining but tapered means of rebranding.
  9. Eddie Murphy’s Dr. Dolittle generated four sequels. On this showing, Downey Jr’s will be a standalone, an uncynical but mostly lacklustre kids’ flick that doesn’t find its voice, animal or otherwise.
  10. Lively’s steely heroine and a propulsive plot ensure you’re never bored, but this is a generic thriller from a simpler time, bulked up by a single strong performance.
  11. Neither a splendid phoenix from the ashes nor a complete failure, The Man Who Killed Don Quixote is erratic, occasionally inspired, occasionally dull, but shot through with a grandiose sense of ambition. Plus, Driver and Pryce add some magic along the way.
  12. It could easily be twee twaddle, but A Beautiful Day In The Neighborhood is a nuanced, formally playful delight, a perfectly pitched and played ode to goodness. All hail Marielle Heller.
  13. More engrossing than both "Sully" and "The 15:17 To Paris," Richard Jewell is enlivened by Paul Walter Hauser’s breakout performance yet undone by a lack of subtlety and real dramatic wallop. Solid, dependable, very late period Eastwood.
    • 83 Metascore
    • 100 Critic Score
    Conjuring menace and mystery from solitude and seagulls, The Lighthouse is a folk tale, a black comedy, a horror, a mystery, a (platonic?) romance — and something more still, something unspeakable. Something like a masterpiece, perhaps.
  14. Unpacking classic fiction that has already been adapted a few times, once to critical acclaim, is no easy task. Yet while it’s not completely up to the challenge, The Turning at least offers up enough moody chills and a lead in Mackenzie Davis it’s not hard to root for as the craziness builds.
    • 41 Metascore
    • 60 Critic Score
    A generic but competent reboot-quel enlivened by good performances across the board and some stylish direction. No grudges need be held here, but maybe it’s time to put this franchise to bed.
    • 75 Metascore
    • 80 Critic Score
    A breezy, brilliant treat. Iannucci may have softened the bite of his comedy but replaces it with something remarkably optimistic and buoyant, telling a story as joyously relevant as it was a century-and-a-half ago.
  15. Not so much bad Bad Boys, more good Bad Boys. And not so-bad-it’s-good Bad Boys either. Instead, this is comfortably the best entry in the series to date. Which isn’t bad.

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