Rolling Stone's Scores

For 3,532 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 Invasion of the Body Snatchers
Lowest review score: 0 Cats
Score distribution:
3532 movie reviews
  1. 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.
  2. 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.
  3. The Invisible Man is a chilling mind-bender that strikes at our deepest fears — the ones we can’t see.
  4. 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.
  5. 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.
  6. On film, The Last Thing He Wanted settles for just being hollow. It’s the last thing any of us wanted.
  7. Corpus Christi doesn’t skimp on the humanity; the film earns the slow smiles it brings to your face.
  8. 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.
  9. 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.
  10. 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.
  11. 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?
  12. 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.
  13. 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.
  14. 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.
  15. It’s a demonstration of directorial chops that somehow never devolves into a look-mamushka-no-hands display, and a textbook example of how to use handheld camerawork (courtesy of cinematographer Kseniya Sereda) and splashes of red, green, and goldenrod effectively without being garish or grandiloquent.
  16. The Lodge strains credulity beyond the breaking point; “contrived” is the mildest word you could use to describe the plot. Luckily, Franz and Fiala are masters of setting a mood that makes your skin crawl. And Keough — she’s Elvis’s eldest granddaughter — is a subtle sensation.
  17. You can feel the desperation of the filmmakers as they throw in fist fights, car chases, and, yes, more wig changes to give an illusion of momentum to a grab bag of botched ideas. No sale.
  18. Green’s slow-burn style might not spell box-office windfall in a cinema era of short attention spans, but her artistry is indisputable.
  19. Something vital definitely seems to have been lost in the translation, however, and what you’re left with is a retelling that feels deader than anything skulking around the shadows.
  20. The result isn’t exactly Lock, Stock Redux. Only the “stock” part remains.
  21. Robinson means to leave you in tears, no matter how heavy-handed his approach. But the sentimental ending that suggests all loose ends have been tied up does a disservice to the battle ahead and a war still to be won in the name of the people left to pick up the pieces.
  22. It is an innocuous, pleasant enough way to kill a few hours. That’s the worst thing you can say about it. It’s also, alas, the best thing you can say about it as well.
  23. This out-and-out disaster dissolves in a puddle of botched intentions that will leave children sad and confused and adults scratching their heads.
  24. Citizen K, Alex Gibney’s surprisingly strong documentary on the rise and fall and rebranding of Khodorkovsky, does a good job of charting the contours of this controversial figure’s story; that the filmmaker was able to get the subject himself to tell so much of it in his own words feels like a coup.
  25. It’s a bumpy ride for sure, but Smith and Lawrence haven’t lost their irresistible mojo and Bad Boys For Life plays like a blast of retro ’90s action. It’s like they never left.
  26. What we have here is a comedy on life support, with Haddish and Byrne valiantly performing futile acts of resuscitation. Sorry to report: The patient died.
  27. Shot three years ago, this soggy horrorshow gives credence to the belief that January is the month Hollywood uses to bury its mistakes.
  28. To start as a genre resuscitation and end up as simply generic — that’s a far more fatal ending than any curse befalling the characters onscreen.
  29. If you want to see what great acting is, watch Alfre Woodard deliver a master class in Clemency.
  30. It’s the actors who make this real-life legal procedural come alive.

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