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. What’s missing? Let’s start with intangibles such as heart, soul and the faintest hint of originality.
  2. The Art of Self-Defense sets itself up as the 90-pound weakling destined to live forever in the shadow of "Fight Club." The good news is that writer-director Riley Stearns gets in a few good licks at toxic masculinity before odious comparisons to David Fincher’s masterpiece blunt the film’s comic and dramatic impact.
  3. Like the apex predators slithering at the center of it all, it gets the job done once it lets is more brutal, primal instincts take over. Bon Appétit.
  4. Stuber traps two talented dudes — Kumail Nanjiani and Dave Bautista — in a car that’s going nowhere so fast that Thelma and Louise would hop right on.
  5. In The Farewell, Wang builds a funny, touching and vital film about what makes a family in any culture. It’s simply stunning.
  6. Maron may not go wide in terms of range yet. But damned if he can’t go deep.
  7. What makes this film unmissable, however, is the fact that we get Marianne’s story more or less in full as well. It’s a fleshing out of someone who was more than just a muse, more than just an object of affection for a notorious ladies’ man, a famous singer and an infamous bastard.
  8. Ari Aster is a bold new voice in psychological horror, the kind that messes ruthlessly with your head. He proved that last year with "Hereditary," featuring Toni Colette in one of cinema’s most memorable meltdowns. And now, with the hypnotic and haunting Midsommar, he ventures into fresh territory without losing his grasp of what nightmares are made of.
  9. There’s no contrived digital sleight-of-hand in Spider-Man: Far From Home that can match what Holland does: He makes the MCU feel new again.
  10. Some of the footage, shot by crew members, radiates hold-your-breath suspense, especially when the Maiden pushes through the ice floes of the Southern Ocean, near Antarctica. You’ll have your heart in your mouth as the yacht enters the final stretch.
  11. Annabelle Comes Home is not out to reinvent the wheel, or to even rotate the franchise tires. It may not leave you petrified to the core, but it won’t you leave angry, and in this, the Summer of Our Perpetual Disastrous Sequel, that’s no small feat.
  12. Yesterday has its heart firmly in the right place. It’s the challenge to take it to the next level that’s missing.
  13. This kind of Cold War-a-go-go, deadly-honeypot intrigue is harder to do well than you might think — just ask the folks behind "Red Sparrow." So you appreciate it when someone like Besson can make it move like a pro.
  14. The gore, which is plentiful, grows repetitive and dull.
  15. For a series that began nearly 25 years ago, this classic in the making couldn’t go out on a more fitting note of tender, tear-drenched resolution.
  16. To watch The Quiet One at this particular moment in time is to feel that not only is this a highly subjective take, but that you’re being a little jerked around here. Even the most diehard Stones fan is bound to leave feeling a little conflicted. It’s a documentary that lives up to its name in all the wrong ways.
  17. This classically trained Irish singer and actress was a runner-up on a BBC singing competition and won roles in film (Beast) and TV (War and Peace, HBO’s Chernobyl). She’s a skyrocketing talent — and the full range of her gifts are on display here.
  18. It’s part tour diary, part trickster handbook and totally mesmerizing. Rockumentary-wise, you’ve never seen or heard anything like it.
  19. (It) feels like a pale facsimile of Jarmusch. There are a few lovely, random laughs and a resonant political subtext, but the tone is off.
  20. Hemsworth and Thompson, who has the makings of a major star, do the heavy lifting. And, miraculously, they keep it light, breezy and watchable. Memorable? That’s asking too much.
  21. By the end, when the three Shafts hit the streets in identical long coats like something out of The Matrix, the message is clear. Rough justice is back to stay. Women are out of the picture, except for sex. Dinosaurs again walk the earth with misogynistic and homophobic impunity. These are the laughs, folks. Don’t be surprised if they stick in your throat.
  22. Australian filmmaker Grant Sputore, making his directorial debut, has a knack for keeping things moving, whether its within the claustrophobic walls of the “safe” house or, briefly, in the evocative scorched-earth landscape above ground.
  23. For some, the chance to hear the divine sound of that voice and see that smiling mug once again will be worth it. For others, it will simply feel like song half sung.
  24. Funny, poignant, personal and a rage-filled valentine to a metropolis that’s seen its fair share of gentrification.
  25. Sad to say, the bloom is off the rose.
  26. The whole thing is a blast, which doesn’t mean you don’t sense that the stakes are high or that the tension between this threesome isn’t threatening to smother a great creative collaboration in the crib.
  27. And while the arrest and trial take up the bulk of the film’s focus, no amount of famous folks mouthing lines can compare to the compelling, grainy black-and-white clips of the real-deal DeLorean getting busted by the feds.
  28. Dark Phoenix doesn’t just suck big time. It’s the worst movie ever in the X-Men series.
  29. Thompson, Kaling and up-for-anything director Nisha Ganatra spin comic gold.
  30. It’s an irresistible romantic romp that turns the familiar into something sweet, sassy and laugh-out-loud funny.

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