Rolling Stone's Scores

For 3,109 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 2.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Departed
Lowest review score: 0 Getaway
Score distribution:
3109 movie reviews
  1. Alpha is not a perfect movie, and it is occasionally a way-too-pumped-up pulpy one relying on big-budget bulk. But it is most certainly a tonic in an age when every blockbuster film feels like part of some endless multiverse-cum-marketing scheme.
  2. Close plays this ignored, pushed-aside woman like a gathering storm, drawing us into the mind and heart of a heroine who’s not going to take it any more. The actress has received six acting nominations without ever winning an Oscar. The Wife, a funny and fierce showcase for her prodigious talents, might just end the drought. You can’t take your eyes off her.
  3. It’s the war between the bonds of family vs. the pull of wealth — a global theme across wide borders and cultures — that gives the film heft. But even when the script drifts into moralizing, it’s the emotions that hold sway.
  4. Even as the story builds to a final mano a mano, the movie is less invested in a win-or-lose outcome than in taking you along for the ride.
  5. It’s too chintzy to be a proper high-octane action flick and not nearly over-the-top campy enough to be the conduit for a great B-movie endorphin rush.
  6. Spike Lee is coming at you with his greatest and most galvanizing movie in years. BlacKkKlansman is right up there with "Do the Right Thing" and "Malcolm X" in the Spike’s Joint pantheon of game-changers.
  7. Every time things start to get goopy, we get silent-comedy slapstick like Pooh destroying the Robins’ household.
  8. It’s a posthumous gift to Päffgen. Even her death, shown here as Nico leaving her house on a sunny Ibiza day, bike in hand and a colorful door closing behind here, is presented with a sense of grace. Nicciarelli spares us nothing but still gives her dignity on way out.
  9. Light-hearted is the sweet spot for this would-be romp, yet the filmmakers keep trapping its stars in stunts that don’t play to their strengths and the dead weight that McKinnon has to lift in this lumbering spy farce would sink a lesser talent.
  10. What a shame that this well-meaning look at the absurdity of gay conversion camps — it won the Grand Jury Prize at Sundance this year — lacks the teeth to make its points stick.
  11. A sexual-revolution pioneer, a “gay renegade” who was also “pre-gay,” a cultural saboteur, a sad old man in denial — we get a lot of opaque Scottys, all semi-attached to an alternate “history” that feels maddeningly incomplete and barely surface-scratched.
  12. The result is chaotic, but never lacking in energy – and the cast is up for anything.
  13. What the film does so movingly as a portrait is show the isolation that comes with creative success.
  14. The Equalizer 2 feels uneven and off balance. But not Washington. Despite his trashy trappings, there’s no one cooler to watch in action.
  15. The last part of the movie, which brings the whole cast together on “Super Trouper,” is almost worth the price of admission. Millions will happily get drunk on the film’s infectious high spirits. For the rest of us, who can’t get with the program, Here We Go Again will go down as more of a threat than a promise.
  16. Unfortunately, it’s those same feelings that stick in the memory when López Estrada overdoes the melodrama and lets the plot fire off in too many directions. No worries. Diggs and Casal will keep you riveted.
  17. The practical effects, meaning the real stuff the computer never touched, make all the difference when you’re asking audiences to see the characters as human instead pawns in a digital game.
  18. But at its best, Shock and Awe still feels like it strains to be Spotlight-lite and comes up lacking. The title feels like a misnomer.
  19. Joaquin Phoenix and director Gus Van Sant raise the bar when they use roguish humor and bruising pain to color outside the box.
  20. Bo Burnham’s story about a 14-year-old misfit is one of the funniest, saddest and most heartfelt teen movies ever.
  21. What you get is, regrettably and rather surprisingly, something that’s a lot less exciting than the sum of those particular parts.
  22. It’s the sort true-story premise would be a fascinating starting point for a movie … if said film had more than a nodding acquaintance with the truth.
  23. Oakland-based rapper Boots Riley scores a knockout debut as a director with Sorry to Bother You, a no-mercy satire that gets up in your face, breaks all the rules – and then invents new rules so it can break them too.
  24. Though Macdonald offers the sight and sound of Whitney in interviews and home movies, she is never heard grappling with the grave issues the film raises.
  25. The First Purge isn’t the beginning of the end of the franchise, just the start of where the narrative’s “civility” starts to erode and where that leads.
  26. You don't just watch it as much as you absorb it until the film's ebb and flow become a part of you.
  27. It's a compelling, twist-filled tale, one told with a highly developed sense of empathy, a few aesthetic missteps (perhaps it's time to issue a permanent moratorium on montages set to "Walkin' on Sunshine"? Actually, scratch the perhaps there) and a knack for turning the triplets' experience into something bigger than just stranger-than-fiction tabloid fodder.
  28. For starters, the follow-up to 2016's Sicario is not in the same essential-viewing category as the original – that's what happens when you remove inspired director Denis Villeneuve from the equation.
  29. The thrill of the film is watching Ant-Man and the Wasp team up and raise hell together. Rudd is a winning combination of sass and sincerity. And it's a kick to watch Lilly break out and let her star shine.
  30. Damsel won't work for everyone. It's too quirky for that. But it goes its merrily deranged way with prankish enthusiasm and a genuine sense of the absurd.

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