Film.com's Scores

  • Movies
For 1,505 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 State and Main
Lowest review score: 0 Movie 43
Score distribution:
1505 movie reviews
  1. The first live-action endeavor from director Brad Bird (The Incredibles, The Iron Giant), Mission: Impossible – Ghost Protocol is filled with the verve and clarity of his animated action sequences while lending just enough gravity and remote plausibility to the stunts and gadgetry to keep it from becoming a glorified cartoon in and of itself.
  2. Cooties, while suitably gross and buoyed by game performances, doesn’t exploit its concept nearly as well as it should.
  3. Bluebird is undoubtedly a remarkable achievement, especially for a first-time filmmaker.
  4. The genius of Kikuchi’s performance is that – by the end – her slow descent into mania humanizes Kumiko precisely when it would have been so easy to reduce her into caricature.
  5. Gone Girl is a rare bird: a tricky, weird mystery that benefits from people knowing its twist from the outset.
  6. The Boxtrolls is a swing-and-miss for Laika; when you move forward with revolutionary techniques while standing still in terms of your themes, stories and settings, no amount of technical trickery or animation genius can bring the boring to vivid life.
  7. Both Tipton and Teller are better than this material.
  8. A closer, richer examination of a slice of time as specific as it is short.
  9. It is a rather sly affair, slipping in some genuine food for thought amongst its snickering.
  10. Frank’s film is much more of a noir outing than a straight action feature, and Neeson slips right into the tone and feel of the hard-boiled detective offering. Neeson may have been treated to a big career resurgence thanks to his knack for big action, but he’s great as Matt Scudder, and the darker charms of the film suit him wonderfully.
  11. For a genre that so often sacrifices character development and smaller narrative developments, the majority of The Maze Runner feels quite refreshing and worth the navigation.
  12. Tusk is revolting, but that’s entirely the point of Kevin Smith’s admirably imaginative and utterly disgusting latest feature, a twisted fairy tale that trades on gross-out gags and visual shockers instead of actual story.
  13. A truly entertaining and dizzyingly wild horror film.
  14. The humor and drama don’t neutralize each other; in what’s perhaps Stewart’s most successful achievement as a director, the changes in tone work in a harmony, not at cross-purposes.
  15. “Expendables 3” has fewer nauseating clichés than The Judge.
  16. A fantastic, sleek and fun satire.
  17. Tina Fey is in the film, for heaven’s sake, and I love her to pieces, but by now we know to expect something humdrum when she’s on a movie screen.
  18. Embarrassing and weird.
  19. Heartfelt and haunting, sympathetic while still aware of the limits of sympathy, Wild incorporates beautiful direction, smart writing and brave acting.
  20. This is not a film in need of creativity, passion or energy; what it needed was restraint, consideration and direction. This is not saying that Birdman is awful, or a debacle; there are superb scenes here, as well as excellent performance moments, but they get drowned out in the flood of Iñárritu’s ambition, energy and fantasies.
  21. Strong, stirring, triumphant and tragic, The Imitation Game may be about a man who changed the world, but it’s also about the world that destroyed a man.
    • 38 Metascore
    • 72 Critic Score
    The film’s finely tuned middle act, a fast-paced and quick-witted journey into (possible) madness, eventually gives way to an unsettlingly over the top final section that relies far too much on larger setpieces and supposed “big scares” that are never as good as the smaller, weirder stuff.
  22. This portrait of the actor winds up being a parable about all of us.
  23. A nicely-made action-thriller, one with analog car chases and non-digital explosions, like a long tall glass of cold water in a world that mostly offers you Bud Light or Crystal Pepsi.
    • 84 Metascore
    • 95 Critic Score
    Stray Dogs pushes Tsai’s cinema of laissez-faire long takes, performative observation and pangs of regret and loss to their extreme.
    • 77 Metascore
    • 69 Critic Score
    Juri’s performance makes it impossible to divert your eyes from the screen, no matter how much you might want to, and a brave film that eventually succumbs to convention is still braver than most.
  24. It has a nose for what's cool, but is completely inept at execution.
    • 46 Metascore
    • 39 Critic Score
    Even the love story doesn’t work, because Moretz and Blackley exhibit zero romantic chemistry, and it’s never exactly clear why the pair love each other so much.
  25. What ultimately holds the film back, I believe, is its tendency to err too far on the side of that sweetness — it indulges too often in the hallmarks of the mediocre indie, the stuff a press release might call quirk, to level its more substantial points with real seriousness.
  26. Cripplingly lifeless.

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