Rolling Stone's Scores

For 3,549 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 Manchester by the Sea
Lowest review score: 0 Coffee & Kareem
Score distribution:
3549 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. 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.
  3. It’s the kind of film that works well if you don’t feel like getting off your couch. Zeke would definitely approve.
  4. 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.
  5. 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.
  6. What a bummer that a movie that paints itself as a scintillating, sexually-charged, art-world thriller ends in a swamp of failed intentions.
  7. 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.
  8. 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.
  9. You’ll laugh. You’ll cry. But first you have to cut through the noise.
  10. Wobbly but well-intentioned broadside against racism.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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?
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. The result isn’t exactly Lock, Stock Redux. Only the “stock” part remains.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. You could, however, accuse this Black Christmas of elevating the subtext of decades’ worth of slasher flicks to the point that the text itself starts to take a backseat, or that its third-act reveal may be trying a tad too hard to grab the social-thriller brass ring. You would not necessarily be wrong.
  27. In Seberg, Kristen Stewart gives a fully-inhabited, body-and-soul performance as a Hollywood casualty pushed beyond the limit. It’s such a stellar turn that she almost redeems this well-meaning but wobbly biopic — which earns points for trying to do her justice.
  28. You could do way worse if you’re looking for a comic blast for the holidays.
  29. Malick has created a war film without a single scene of war, of Jewish persecution, of the thought process that helped Franz hold steadfast. It’s one thing to fashion a film about one man’s blind faith; it’s another to keep audiences in the dark about the fundamentals that made him human.
  30. The Aeronauts is hobbled time and again by the attempt to add the juice of fiction to a story that could and should have stood on its own. The truth, in Hollywood terms, is never enough.

Top Trailers