Rolling Stone's Scores

For 3,548 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Romeo + Juliet
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
3548 movie reviews
  1. Jakubowicz achieves maximum impact by keeping our eyes on the man in the invisible box, one trying to teach children that the power of art can literally be a saving grace.
  2. Using their voices for demonstrations and protests, they helped pass 1990’s revolutionary Americans With Disabilities Act. This documentary proves that they are still changing the world.
  3. Everything goes to hell in a decorative handbasket. What starts out as a simple plan will be destined to become, well, "A Simple Plan" redux.
  4. It’s the kind of film that works well if you don’t feel like getting off your couch. Zeke would definitely approve.
  5. The Hunt is neither a harbinger of Western civilization’s end nor quite the Swiftian satire its creators want it to be. It’s simply a better-than-decent B-movie, the kind that takes pride in its sick kills and throws a lot of punches that only occasionally connect.
  6. There’s no doubting Potter’s laudable ambition to capture the swirling headspace of her brother, who died in 2013. But in trying to restore his dignity in fighting the dying of the light, she’s neglected to portray him in the human terms that would let us share his spirit.
  7. The friendship at the heart of this film, as indelibly portrayed by two brilliant young actresses — Flanigan is a wonder to behold, while Ryder nails just the right notes of supportive and warmly sympathetic — is a thing of beauty. Hittman’s urgent film is an emotional wipeout. It’s hard to watch. It’s also impossible to forget.
  8. There are some breathtakingly gorgeous images the movie throws at you — the townsfolk silently waving white handkerchiefs during a funeral — among the few giddily grotesque visuals that you can’t shake. (Pedro Sotero’s cinematography is as stunning as a painting and as psychotropic as the drugs the villagers take before the finale.)
  9. How it informs so much of what the movie is getting at is something you’ll find yourself mulling over for weeks after you’ve left the theater. The feeling that you’ve just witnessed a major work from a great American filmmaker, however, is instantaneous.
  10. What a bummer that a movie that paints itself as a scintillating, sexually-charged, art-world thriller ends in a swamp of failed intentions.
  11. You might not pay money to see this in a theater, but you’d watch it on your couch in a second, which is why Netflix makes perfect sense for it. A coda sets up a sequel. There are worse things to look forward to.
  12. Cornball? Maybe. But it helps that O’Connor dexterously avoids the usual lump-in-the-throat tearjerking. And it helps even more that the star radiates a soul-deep belief that it’s the small steps that matter more than a rah-rah victory. He makes us root for Jack — just us The Way Back makes us root for Affleck, no matter how long the road ahead.
  13. To watch Sorry We Missed You is to realize that, despite its dedication to showing how people live and love and work (and work, and work, and work) in everyday Britain, this is a story that goes far beyond the United Kingdom.
  14. You’ll laugh. You’ll cry. But first you have to cut through the noise.
  15. What The Whistlers lacks in terms of the rigor associated with its creator’s back catalog, it makes up for as a deadpan genre piece with a sly jab. It’s a serious work of pulp friction.
  16. Wobbly but well-intentioned broadside against racism.
  17. The Zeitlins have dreamed since childhood of bringing their version of "Peter Pan" to the screen. Their collective imaginative powers are indisputable. But what started as a visually gripping, fiercely funny, and emotionally centered take on Wendy’s mission statement (“The more you grow up, the less things you get to do that you wanna”) ends in a chaotic clutter that deserves, well, the hook.
  18. You’re left to wonder whether you’ve watched a freshman college course with laughs, or a failed comedy with a lecture surgically grafted on to it.
  19. The Invisible Man is a chilling mind-bender that strikes at our deepest fears — the ones we can’t see.
  20. Make no mistake: This is really one man’s look back in anger, sorrow, joy and sentimentality. “Robbie Robertson on the Band” would be a more accurate description.
  21. Ford is at his droll, grumpy-old-man best, so he can do his own acting without having his emotions computer generated. At least for now.
  22. On film, The Last Thing He Wanted settles for just being hollow. It’s the last thing any of us wanted.
  23. Corpus Christi doesn’t skimp on the humanity; the film earns the slow smiles it brings to your face.
  24. With the help of cinematographer Christopher Blauvelt, composers Isobel Waller-Bridge and David Schweitzer, and Alexandra Byrne’s spectacular costumes, the film captures the whirl of a predatory society that can no longer hide behind surface prettiness. That sounds a lot like right now.
  25. The only genuine, blood-curdling scream incited by this stupefyingly dull time- and money-waster comes at the end, when the notion dawns that Blumhouse’s Fantasy Island is meant to spawn sequels. Stop it now, before it kills again.
  26. The Photograph comes down with a teary case of "The Notebook," laying on flashbacks that yank us out of the present, where our stars live, and into a past riddled with sentimental clichés.
  27. Downhill is sure as hell not the farce it’s been advertised to look like in the trailer. And you’ll search in vain for "Force Majeure’s" grounding in existential crisis. I don’t know what the Swedes would call Downhill. What’s Swedish for an unholy mess?
  28. If Untouchable does nothing else, it demonstrates how patterns of intimidation and the power to destroy lives flourish in systems that allow for the turning of blind eyes. It was just the cost of doing business with Harvey, until thankfully, it wasn’t.
  29. Whether you buy the ending or not is something between you and your own personal suspension-of-disbelief deity, but you can’t say that the star doesn’t commit to selling the character’s arc 100 percent. Insanity suits her.
  30. The fight scenes grow numbing as the birds take on the goons in melees that add up mostly to noise. All you feel is numb as Yan piles on one brawl after another to give the illusion that something is happening. Nothing really is. Birds of Prey and its ilk are empty calories, not meant to disturb when they dazzle. Joker, whatever its shortcomings, tackled a festering society that created its own monsters. Slapping the topical theme of female empowerment on a story that trucks in business-as-usual violence does not qualify as a game-changer — or a reason to go to the movies.

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