Movieline's Scores

  • Movies
For 693 reviews, this publication has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Somewhere
Lowest review score: 5 The Roommate
Score distribution:
  1. Negative: 41 out of 693
693 movie reviews
  1. It's as subversive and penetrating a treatment of the British character as we get on the big screen, and it's why I don't mind that Leigh keeps them coming 'round with the reliability of the cocktail hour.
  2. The faces of these performers - particularly Williams' - are the key to Blue Valentine.
  3. The picture is rambunctiously affectionate; Guiterrez may go for the broad joke, but never the cheap one.
  4. One of the most chilling things about Trust is how well it lays out the grooming strategies used by expert predators.
  5. To say too much about what actually happens would be to rob you of the film's risks and narrative ripostes. What should be noted is that Capotondi makes ambitious use of an unreliable narrator in a way that is rarely seen in modern films.
  6. One of those big, extravagant-looking romances that you might automatically deem "conventional" - except for the fact that almost nobody makes big, extravagant-looking romances anymore.
  7. Beginners is all about beginnings that begin with endings - the point, Mills seems to be saying, is that sometimes you need to say good-bye to make room for hello.
  8. In the early moments of The Trip, you wonder if either actor will survive the enterprise.
  9. While the media desk isn't the whole of the New York Times, it does give Rossi a solid perch from which to survey the paper's recent and ongoing struggle for both relevancy and revenues.
  10. O'Brien describes a number of those basic human feelings that drop-kick all of us from time to time, like being resentful of anyone and everyone who still has a job when we don't.
  11. Bad Teacher is hardly a perfect picture, but in the context of every other comedy on the summer movie landscape - from the faux empowerment of "Bridesmaids" to the neurotic frat-guy heteromania of "The Hangover Part II" - it feels revolutionary.
  12. "A chimp could not have a better mother," Terrace declares of his decision. The people in this film say stuff like that a lot.
  13. Breillat manages to give us a lush, quiet spectacle with The Sleeping Beauty.
  14. The effect recalls the beguiling lightness of the good old Disney, where clever visual and thematic feats are deftly interwoven and yet tossed off with an insouciance that favors playfulness above all.
  15. July is more of a presence than an actress, or even a believable persona.
  16. The "black maid" may be a cliché. But when was the last time we saw a story told from her point of view?
  17. I've seen Detective Dee twice now, and I still don't think I've taken the full measure of the visual nuttiness, and lushness, Tsui has packed in there.
  18. Contagion's restraint is marred by one element - Alan Krumwiede, the San Francisco-based activist blogger played by Jude Law, a conspiracy theorist who wields claims about uncovering the truth like a blunt instrument intended to menace.
  19. Olsen's performance is restrained but not tentative; you could say the same for the movie around it.
  20. Arthur Christmas is a Grinch-style story of rekindled Christmas spirit told from inside Santa's compound at the North Pole.
  21. Mulligan is terrific here, and restrained in a way that suggests an actorly generosity unusual for someone so young: Her scenes with Fassbender don't so much say "Look at me" as "Look at him."
  22. Craig has one clear advantage over Michael Nyqvist, the actor who played the same character in the Swedish Girl movies: He has erotic charisma to spare, as opposed to Nyqvist's perfunctory, doughy sexuality.
  23. For all its borrowing from old Hollywood, I don't think War Horse is particularly nostalgic. The word I'd use is wistful. It's the largest, most lavish handful of wistfulness money can buy, and sometimes it's too much. Yet it's nice to know that even Steven Spielberg can still wish for something.
  24. A Separation doesn't try to make easy sense of that world, or of this family's suffering. It's simply a quiet cry of anguish.
  25. Tectonic pacing builds to a series of imperceptible and yet earth-moving moments in Nuri Bilge Ceylan's Once Upon a Time in Anatolia, a habeas corpus procedural stretched across two and a half discursive hours.
  26. That she makes it all look so effortless is part of the fun – as long as you're not unlucky enough to be the guy with his nut in the nutcracker.
  27. It's the kind of movie that makes the world feel like a smaller place, suggesting that the similarities connecting us across continents and cultures are more resonant than the things that divide us.
  28. A small but extremely significant message in a bottle. That metaphor is almost literal: The picture made its way to Cannes via a USB drive -- which was smuggled in a cake.
  29. At its simplest level, Jiro Dreams of Sushi is a portrait of a master. In its deeper layers, it explores what drives us to make things: Beautiful, jewel-like things, or things that delight our palate – or, in this case, both.
  30. There's action here, too, and a great deal of vitality that feels true both to the spirit of Collins' book and to the idea of movie entertainment as it exists.

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