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Rating	Title \| Year	Review
3.5/4	(2008)	What happens would not make sense in many households, but in this one, it represents a certain continuity, and confirms deep currents we sensed almost from the first. \| Posted Mar 29, 2024
3.5/4	(1995)	Seven, a dark, grisly, horrifying and intelligent thriller, may be too disturbing for many people, I imagine, although if you can bear to watch it, you will see filmmaking of a high order. \| Posted Mar 29, 2024
4/4	(2000)	Oh, what a lovely film. I was almost hugging myself while I watched it. \| Posted Mar 26, 2024
4/4	(1994)	Quentin Tarantino is the Jerry Lee Lewis of cinema, a pounding performer who doesn't care if he tears up the piano, as long as everybody is rocking. \| Posted Mar 01, 2024
3.5/4	(2001)	Amelie is a delicious pastry of a movie, a lighthearted fantasy in which a winsome heroine overcomes a sad childhood and grows up to bring cheer to the needful and joy to herself. You see it, and later when you think about it, you smile. \| Posted Feb 13, 2024
2/4	(1990)	Brown turns in a smooth, professional job in his debut as a writer-director, but the movie is undermined somewhat by his single-minded vision of it as a message picture. \| Posted Dec 26, 2023
3.5/4	(1995)	Above all, the dialogue is complex enough to allow the characters to say what they're thinking: They are eloquent, insightful, fanciful, poetic when necessary. They're not trapped with clichés. \| Posted Dec 21, 2023
2.5/4	(1990)	If Home Alone had limited itself to the things that might possibly happen to a forgotten 8-year-old, I think I would have liked it more. \| Posted Nov 29, 2023
1.5/4	(1979)	It's put together rather curiously out of disjointed scenes, snatches of dialog, and brief strokes of characterization. \| Posted Nov 28, 2023
3/4	(1985)	"Cocoon" is one of the sweetest, gentlest science-fiction movies I’ve seen, a hymn to the notion that aliens might come from outer space and yet still be almost as corny and impulsive as we are. \| Posted Nov 12, 2023
4/4	(1929)	A movie like this is a tonic. It assaults old and unconscious habits of moviegoing. It is disturbing, frustrating, maddening. It seems without purpose... \| Posted Nov 02, 2023
4/4	(1972)	Play It as It Lays is an astringent, cynical movie that ultimately manages to spin one single timid thread of hope. \| Posted Sep 28, 2023
2.5/4	(1966)	It is a film made entirely in the mind, as if the heart were no concern, and it can be seen that way -- as a cold, aloof study of human neurosis. But not for a moment did I care about any of the characters. \| Posted Sep 20, 2023
4/4	(2000)	Soderbergh's film uses a level-headed approach. It watches, it observes, it does not do much editorializing. The hopelessness of anti-drug measures is brought home through practical scenarios, not speeches and messages -- except for a few. \| Posted Sep 08, 2023
4/4	(1996)	John Sayles' Lone Star contains so many riches, it humbles ordinary movies. And yet they aren't thrown before us, to dazzle and impress: It is only later, thinking about the film, that we appreciate the full reach of its material. \| Posted Sep 06, 2023
4/4	(1994)	Alcoholism has been called a disease of denial. What When a Man Loves a Woman understands is that those around the alcoholic often deny it, too, and grow accustomed to their relationship with a drunk. \| Posted Sep 01, 2023
4/4	(1984)	[This] is the kind of movie that Paul Mazursky does especially well. It's a comedy that finds most of its laughs in the close observations of human behavior, and that finds its story in a contemporary subject Mazursky has some thoughts about. \| Posted Aug 22, 2023
2/4	(1989)	The Gotham City created in Batman is one of the most distinctive and atmospheric places I’ve seen in the movies. It’s a shame something more memorable doesn’t happen there. \| Posted Jul 25, 2023
3/4	(1995)	Hate is, I suppose, a Generation X film, whatever that means, but more mature and insightful than the American Gen X movies. In America, we cling to the notion that we have choice... In France, Kassovitz says, it is society that has made the choice. \| Posted Jul 20, 2023
4/4	(1999)	Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. \| Posted Jul 15, 2023
4/4	(2001)	The movie is a surrealist dreamscape in the form of a Hollywood film noir, and the less sense it makes, the more we can't stop watching it... This is a movie to surrender yourself to. \| Posted Jul 11, 2023
4/4	(1985)	It is a great, warm, hard, unforgiving, triumphant movie, and there is not a scene that does not shine with the love of the people who made it. \| Posted May 31, 2023
4/4	(1981)	[Raiders of the Lost Ark] grabs you in the first shot, hurtles you through a series of incredible adventures, and deposits you back in reality two hours later -- breathless, dizzy, wrung-out, and with a silly grin on your face. \| Posted May 04, 2023
3.5/4	(1989)	As I watched it, I felt a real delight, because recent Hollywood escapist movies have become too jaded and cynical, and they have lost the feeling that you can stumble over astounding adventures just by going on a hike with your Scout troop. \| Posted May 01, 2023
3.5/4	(1995)	It's an original, and what it does best is show how strangers can become friends, and friends can become like family. \| Posted Mar 15, 2023
2/4	(1992)	Why is that animation can't seem to free itself from subtly racist coding? That objection aside, Little Nemo is an interesting if not a great film, with some jolly characters, some cheerful songs, and some visual surprises. \| Posted Mar 07, 2023
4/4	(1989)	Here, with a larger budget and stars in the cast, [Palcy] still has the same eye for character detail. This movie isn't just a plot, trotted out to manipulate us, but the painful examination of one man's change of conscience. \| Posted Jan 04, 2023
3/4	(1967)	The Penthouse, quite simply, is a pretty good shocker. Shockers are standard fare in the movies and always have been, but successful ones are rare. It's a relief to find one that's made with skill and a certain amount of intelligence. \| Posted Aug 16, 2022
4/4	(1983)	The most remarkable achievement of Terms of Endearment, which is filled with great achievements, is its ability to find the balance between the funny and the sad, between moments of deep truth and other moments of high ridiculousness. \| Posted Jul 21, 2022
4/4	(1984)	This is Mozart as an eighteenth-century Bruce Springsteen, and yet (here is the genius of the movie) there is nothing cheap or unworthy about the approach. \| Posted Jul 11, 2022
4/4	(1967)	We need more American films like Up the Down Staircase. We need more films that might be concerned, even remotely, with real experiences that might once have happened to real people. And we need more actresses like Sandy Dennis. \| Posted Jul 06, 2022
4/4	(1979)	It is a beautifully visualized period piece that surrounds Tess with the attitudes of her time -- attitudes that explain how restricted her behavior must be, and how society views her genuine human emotions as inappropriate. This is a wonderful film. \| Posted Jun 17, 2022
3/4	(1994)	I Like It Like That looks more unconventional than it is, but Martin puts a spin on the material with lots of human color and high energy. \| Posted Mar 02, 2022
3.5/4	(1964)	It's one of the most unusual films I've seen, a barrage of images, music and noises, shot with such an active camera we almost need seatbelts. \| Posted Feb 28, 2022
4/4	(1961)	The passage of time has been kinder to [Varda's] films than some of theirs, and Cléo from 5 to 7 plays today as startlingly modern. Released in 1962, it seems as innovative and influential as any New Wave film. \| Posted Feb 17, 2022
3/4	(1980)	This is a film that could have just been high-class, soft-core trash, but it sneaks in a couple of fascinating characters and makes them real. \| Posted Feb 15, 2022
4/4	(1929)	It's not the equal of Pandora's Box, but [Brooks's] performance is on the same high level. \| Posted Nov 30, 2021
3/4	(1992)	An enormously entertaining movie. \| Posted Aug 30, 2021
4/4	(1989)	The 10 films are not philosophical abstractions but personal stories that involve us immediately; I hardly stirred during some of them. \| Posted May 01, 2021
3/4	(1984)	"Flashpoint" is such a good thriller for so much of its length that it's kind of a betrayal when the ending falls apart. \| Posted Apr 15, 2021
2/4	(1979)	No matter what impression the ads give, this isn't even remotely intended as an action film. It's a set piece. It's a ballet of stylized male violence. \| Posted Mar 07, 2021
2/4	(1979)	Starting Over actually feels sort of embarrassed at times, maybe because characters are placed in silly sitcom situations and then forced to say lines that are supposed to be revealing and real. \| Posted Dec 17, 2020
2.5/4	(1966)	Georges Lautner's Galia opens and closes with arty shots of the ocean, mother of us all, but in between it's pretty clear that what is washing ashore is the French New Wave. \| Posted Oct 11, 2020
1/4	(1968)	If you can miss only one movie this year, make it I, A Woman. Here is a Swedish film which very nearly restores my faith in the cinema, demonstrating that all the other crummy movies I've had to sit through in this job weren't so bad. \| Posted Sep 26, 2020
3.5/4	(2009)	In addition to its effectiveness as a thriller, it is also a film showing a man in the agonizing process of changing his values. And it is a critique of a cruel penal system. \| Posted Sep 23, 2020
	(1969)	I have to admit, however, that I did enjoy the movie and found myself drawn into it. Director Ted Kotcheff is good with his actors. \| Posted Jul 28, 2020
3/4	(1988)	The results are very good - far better and funnier than most of what is being made these days. \| Posted Jul 18, 2020
1/4	(1973)	There's no tragedy in this movie, no sense of the vast scale of suffering outside the bunker. \| Posted Jun 13, 2020
3/4	(2010)	With "Essential Killing," [Jerzy] Skolimowski comes closer than ever before to a pure, elemental story. \| Posted May 05, 2020
1/4	(1987)	[This] is one of the most desperate comedies I've ever seen, and no wonder. The movie's premise doesn't work -- not at all, not even a little, not even part of the time -- and that means everyone in the movie looks awkward and silly all of the time. \| Posted Apr 22, 2020

Movie Reviews

Tv/streaming, great movies, chaz's journal, contributors, black writers week, spider-man: no way home.

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The best of “Spider-Man: No Way Home” reminded me why I used to love comic books, especially the ones about a boy named Peter Parker. There was a playful unpredictability to them that has often been missing from modern superhero movies, which feel so precisely calculated. Yes, of course, “No Way Home” is incredibly calculated, a way to make more headlines after killing off so many of its event characters in Phase 3, but it’s also a film that’s often bursting with creative joy.

Director Jon Watts and his team have delivered a true event movie, a double-sized crossover issue of a comic book that the young me would have waited in line to read first, excitedly turning every page with breathless anticipation of the next twist and turn. And yet they generally avoid getting weighed down by the expectations fans have for this film, somehow sidestepping the cluttered traps of other crowded part threes. “No Way Home” is crowded, but it’s also surprisingly spry, inventive, and just purely entertaining, leading to a final act that not only earns its emotions but pays off some of the ones you may have about this character that you forgot.

Note: I will very carefully avoid spoilers but stay offline until you see it because there are going to be landmines on social media.

“No Way Home” picks up immediately after the end of “Spider-Man: Far From Home,” with the sound of that film’s closing scene playing over the Marvel logo. Mysterio has revealed the identity of the man in the red tights, which means nothing will ever be the same for Peter Parker ( Tom Holland ). With an almost slapstick energy, “No Way Home” opens with a series of scenes about the pitfalls of super-fame, particularly how it impacts Peter’s girlfriend M.J. (Zendaya) and best bud Ned ( Jacob Batalon ). It reaches a peak when M.I.T. denies all three of them admission, citing the controversy about Peter’s identity and the roles his buddies played in his super-adventures.

Peter has a plan. The “wizard” he met when he saved half the population with The Avengers can cast a spell and make it all go away. So he asks Dr. Strange ( Benedict Cumberbatch ) to make the world forget that Spider-Man is Peter Parker, which, of course, immediately backfires. He doesn’t want M.J. or Ned or Aunt May ( Marisa Tomei ) to forget everything they’ve been through together, and so the spell gets derailed in the middle of it. Strange barely gets it under control. And then Doc Ock ( Alfred Molina ) and the Green Goblin ( Willem Dafoe ) show up.

As the previews have revealed, “Spider-Man: No Way Home” weaves characters and mythology from the other cinematic iterations of this character into the universe of the current one, but I’m happy to report that it’s more than a casting gimmick. My concern going in was that this would merely be a case of “ Batman Forever ” or even “ Spider-Man 3 ,” where more was often the enemy of good. It’s not. The villains that return from the Sam Raimi and Marc Webb films don’t overcrowd the narrative as much as they speak to a theme that emerges in the film that ties this entire series back to the other ones. For a generation, the line about Spidey was “With great power comes great responsibility.” “Spider-Man: No Way Home” is about the modern Peter Parker learning what that means. (It also helps a great deal to have actors like Molina and Dafoe in villain roles again given how the lack of memorable villains has been a problem in the MCU.)

So many modern superhero movies have confronted what it means to be a superhero, but this is the first time it’s really been foregrounded in the current run of Peter Parker, which turns “No Way Home” into something of a graduation story. It’s the one in which Parker has to grow up and deal with not just the fame that comes with Spider-Man but how his decisions will have more impact than most kids planning to go to college. It asks some interesting questions about empathy as Peter is put in a position to basically try to save the men who tried to kill other multiverse iterations of him. And it playfully becomes a commentary on correcting mistakes of the past not just in the life of Holland’s Parker but those of characters (and even filmmakers) made long before he stepped into the role. "No way Home" is about the weight of heroic decisions. Even the right ones mean you may not be able to go home again.

Watts hasn’t gotten enough credit in his other two Spider-Man movies for his action and “No Way Home” should correct that. There are two major sequences—a stunner in a mirror dimension in which Spidey fights Strange, and the climactic one—but it’s also filled with expertly rendered minor action beats throughout. There’s a fluidity to the action here that’s underrated as Mauro Fiore ’s camera swoops and dives with Spider-Man. And the big final showdown doesn’t succumb to the common over-done hollowness of MCU climaxes because it has undeniable emotional weight. I also want to note that Michael Giacchino ’s score here is one of the best in the MCU, by far. It’s one of the few themes in the entire cinematic universe that feels heroic.

With so much to love about “No Way Home,” the only shame is that it’s not a bit more tightly presented. There’s no reason for this movie to be 148 minutes, especially given how much the first half has a habit of repeating its themes and plot points. Watts (and the MCU in general) has a habit of over-explaining things and there’s a sharper version of “No Way Home” that trusts its audience a bit more, allowing them to unpack the themes that these characters have a habit of explicitly stating. And, no offense to Batalon, turning Ned into a major character baffles me a bit. He always feels like a distraction from what really works here. On the other hand, this is the first of these three films that has allowed Zendaya and Holland’s chemistry to shine. In particular, she nails the emotional final beats of her character in a way that adds weight to a film that can feel a bit airy in terms of performance.

“Spider-Man: No Way Home” could have just been a greatest hits, a way to pull different projects into the same IP just because the producers can. Some will see it that way just on premise alone, but there’s more going on here than the previews would have you believe. It’s about what historic heroes and villains mean to us in the first place—why we care so much and what we consider a victory over evil. More than any movie in the MCU that I can remember, it made me want to dig out my old box of Spider-Man comic books. That’s a heroic accomplishment.

In theaters on December 17 th .

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

Spider-Man: No Way Home (2021)

Rated PG-13 for sequences of action/violence, some language and brief suggestive comments.

148 minutes

Tom Holland as Peter Parker / Spider-Man

Zendaya as Michelle 'MJ' Jones

Benedict Cumberbatch as Stephen Strange / Doctor Strange

Jon Favreau as Harold 'Happy' Hogan

Jacob Batalon as Ned Leeds

Marisa Tomei as May Parker

Alfred Molina as Otto Octavius / Doctor Octopus

Jamie Foxx as Max Dillon / Electro

Willem Dafoe as Norman Osborn / Green Goblin

Tony Revolori as Eugene 'Flash' Thompson

Angourie Rice as Betty Brant

Martin Starr as Mr. Harrington

Hannibal Buress as Coach Wilson

J.B. Smoove as Mr. Dell

J.K. Simmons as J. Jonah Jameson

Benedict Wong as Wong

Writer (based on the Marvel comic book by)

Steve Ditko
Chris McKenna
Erik Sommers

Cinematographer

Mauro Fiore
Michael Giacchino

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A.A. Dowd A.O. Scott Adam Nayman Alan Sepinwall Alexandra Heller-Nicholas Alison Herman Alison Willmore Alissa Wilkinson Allison Keene Allison Shoemaker Alonso Duralde Amy Amatangelo Amy Nicholson Angelica Jade Bastién Angie Han Ann Hornaday Anna Smith Anne Cohen Anthony Lane Anupama Chopra Aramide Tinubu Ben Travers Bilge Ebiri Brian Tallerico Candice Frederick Carlos Aguilar Caroline Framke Caroline Siede Carrie Rickey Caryn James Cath Clarke Charles Bramesco Chris Stuckmann Christina Newland Christopher Orr Christy Lemire Clarisse Loughrey Claudia Puig Dan Fienberg Dana Stevens David Ehrlich David Fear David Rooney David Sims David Stratton Deborah Ross Donald Clarke Dorothy Rabinowitz Dwight Brown Ed Gonzalez Ela Bittencourt Elizabeth Weitzman Ella Taylor Emily Nussbaum Emily VanDerWerff Eric Deggans Eric Kohn Esther Zuckerman Fionnuala Halligan Glenn Kenny Guy Lodge Hannah Strong Inkoo Kang J. Hoberman James Poniewozik Jason Bailey Jeannette Catsoulis Jen Chaney Jen Yamato Jessica Kiang Joe Morgenstern John Anderson Jonathan Romney Jordan Hoffman Joshua Rothkopf Judy Berman Justin Chang K. Austin Collins Kambole Campbell Karen Han Kate Erbland Katey Rich Kathryn VanArendonk Katie Rife Katie Walsh Kayla Kumari Upadhyaya Keith Phipps Keith Uhlich Kimber Myers Kristen Lopez Kristen Yoonsoo Kim Kristy Puchko Larushka Ivan-Zadeh LaToya Ferguson Leah Greenblatt Leonard Maltin Leslie Felperin Linda Holmes Linda Marric Lindsey Bahr Lisa Kennedy Liz Shannon Miller Lorraine Ali Lucy Mangan Manohla Dargis Marjorie Baumgarten Mark Kermode Matt Singer Matt Zoller Seitz Matthew Gilbert Maureen Ryan Max Weiss Meagan Navarro Melanie McFarland Melissa Anderson Michael O’Sullivan Michael Phillips Mike Hale Monica Castillo Namrata Joshi Nell Minow Nick Schager Noel Murray Odie Henderson Owen Gleiberman Perri Nemiroff Peter Bradshaw Peter Debruge Peter Rainer Peter Travers Philip de Semlyen Rachel Cooke Radheyan Simonpillai Rebecca Nicholson Richard Brody Richard Lawson Richard Roeper Robbie Collin Robert Daniels Roxana Hadadi Ryan Gilbey Sam Adams Sandra Hall Sara Michelle Fetters Sara Stewart Scott Tobias Sean T. Collins Sheila O’Malley Sheri Linden Shubhra Gupta Simon Abrams Simran Hans Sonia Saraiya Sophie Gilbert Sophie Monks Kaufman Soraya Nadia McDonald Stephanie Zacharek Steven D. Greydanus Tara Brady Tasha Robinson Thelma Adams Tim Cogshell Tim Grierson Tim Robey Todd McCarthy Tomris Laffly Tre’vell Anderson Ty Burr Udita Jhunjhunwala Valerie Complex Wendy Ide Wenlei Ma Wesley Morris Willa Paskin

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The Internet Movie Database (IMDb) is a gigantic compendium of movies, TV shows, and video games. Its primary use is to find detailed information about any actor, producer, or piece of media content.

When you pull up a movie, you'll see a synopsis, trailers, photos, a cast list, trivia, and much more. What makes IMDb so useful is its cross-referencing. Upon opening the page for an actor, you'll see their best-known roles. Thus, IMDb is great for those "what else have I seen her in?" moments.

The IMDb mobile app takes this a step further. If you create an account and give ratings to movies and other media, you'll see a You may know them from field on an actor's page if you've rated something they appeared in.

With a free IMDb account, you can also create a Watchlist of movies you want to see. Along with contributing to the 10-point rating scale with other users, IMDb has many other useful features to offer if you're interested.

Pros of IMDb

Unlike the other two sites, IMDb's reviews come solely from users. It only takes a minute to sign up for IMDb and leave a review, so there's little barrier to entry.

Thus, IMDb's biggest strength is that its scores gives you a good idea of what normal consumers think of it. Professional critics have no influence on IMDb scores.

IMDb has a weighted average system to prevent users from rigging the score, but the service doesn't make it clear exactly how this works. Click the review count next to the star icon on any movie's page to see a breakdown of how people rated it.

Below the overall star average, you can see how the ratings break down by a few demographics, including age and gender.

Cons of IMDb

IMDb's biggest problem is that like other platforms, most people only leave reviews if they love or hate a film. Thus, this skews the scores in favor of either fanboys or haters.

People who want to boost a movie's perception will likely rate the movie a 10, while those who didn't like it will give a rating of one. This means you should read a handful of reviews to get a full picture of the movie's quality.

Rotten Tomatoes

Rotten Tomatoes is a trusted source for movie reviews sourced from critics. Every movie uses the "Tomatometer" to score the quality of a film. If the critic liked the movie, a red tomato appears by their review. When they don't like it, you'll see a green splat instead.

As long as 60 percent or more of critics like the movie, it earns an overall Fresh score with a red tomato. If under 60 percent of critics rate the movie favorably, it earns a Rotten score with a green splat.

Meanwhile, a Certified Fresh badge appears next to titles that are of particularly high quality. They must hold at least a 75 percent favorable score after 80 reviews, including at least five from top critics.

Open any movie's page, and you'll see the overall score plus its number of reviews at the top. Click See Score Details for a deeper breakdown. The Critics Consensus , present for most movies, is a great summary of why the movie received its score.

Rotten Tomatoes also providers a user score, shown by the popcorn bucket. When at least 60 percent of users rated it 3.5 stars (out of 5) or higher, it shows a full bucket. A tipped-over bucket represents that under 60 percent of users gave it under 3.5 stars. Since you can use half-star ratings, this is close to the IMDb score.

In 2019, Rotten Tomatoes made some changes to reduce "review bombing" of movies. There's no longer a Want to See percentage, and you'll also see a check next to user reviews where the site has confirmed that the person actually bought a ticket to the movie.

At the bottom of a movie's page, you can read excerpts from the critic reviews, filter by fresh or rotten, or only show top critics. Search for your favorite actors, and you can check the scores of films they appeared in.

Related: Sites Like Rotten Tomatoes to Find Average Ratings and Reviews for Anything

Pros of Rotten Tomatoes

Rotten Tomatoes has the advantage of sourcing its reviews from trusted critics. The Rotten Tomatoes criteria page explains that the site only takes reviews from trusted newspapers, podcasts, and websites. In theory, this means that only the opinions of the most-trusted movie critics influence the Rotten Tomatoes review.

The Top Critic designation lets you filter by the absolute best critics if you prefer. You can't get a more professional opinion than from these folks.

Overall, Rotten Tomatoes does a good job of letting you know at a glance whether or not a movie is worth your time. The easily identifiable icons, overall score, and consensus summary only take a moment to scan.

Cons of Rotten Tomatoes

The biggest issue with Rotten Tomatoes is that it breaks down complex opinions into a Yes or No score. It scores a critic who thought the movie was decent but had some flaws (say, a 59 percent rating) the same as one who thought the movie was absolute garbage (a zero percent score).

You'll notice this with the Average Rating under the score. Take Jumanji: Welcome to the Jungle as an example. Of the 232 critic reviews, 177 of them are positive. This gives the movie a score of 76 percent. However, the critics rated the movie an average of 6.2/10---quite a bit under the 76 percent displayed on the page.

This doesn't mean the scores on Rotten Tomatoes are useless, of course. But it's important to remember that there's nuance in individual reviews, and the Fresh/Rotten system effectively turns every rating into a 100 or 0 score.

Metacritic aggregates reviews of movies and TV shows, plus video games and music albums. It's one of the best sites for gamers , but it can give you a good idea on the quality of movies too.

The site collects reviews from many sources and aggregates them into one "metascore" from 0 to 100. It displays a color and one-line indication of quality based on the overall score, with the following used for movies, TV, and albums:

81-100: Universal Acclaim (Green)
61-80: Generally Favorable Reviews (Green)
40-60: Mixed or Average Reviews (Yellow)
20-39: Generally Unfavorable Reviews (Red)
0-19: Overwhelming Dislike (Red)

Unlike Rotten Tomatoes, Metacritic uses a weighted average system. Nobody knows the exact details, but the service assigns more importance to some sources than others. Like the other two sites, Metacritic also includes a separate user score, which does not influence the critic score.

The Pros of Metacritic

Metacritic avoids the Rotten Tomatoes problem of scoring every review as simply "good" or "bad." A review of 50 percent gets mixed in with the rest to create the metascore. Thus, the score you see on Metacritic is closer to the average review, as opposed to the percentage of critics who simply liked the movie on Rotten Tomatoes.

Additionally, among these three sites, Metacritic is the only one to feature full user reviews right next to critic reviews. This makes it easy to compare what the general public thinks compared to the professionals.

The Cons of Metacritic

While it's easy to translate a score from a five-star or 10-point scale, Metacritic's way of translating letter grade is questionable. We can see how this works on the About Metascores page :

While scoring an A as 100 percent makes sense, note the scores for B- and F , for instance. A 67 percent score for a B- seems a bit harsh. In most schools, a score of 67 percent is closer to an F than it is a B- .

And scoring an F as 0 percent seems unfair. Something like 20 percent for an F might be more appropriate. Because every site has different scales for scoring (some might not even use pluses and minuses), this could skew a reviewer's original meaning.

Also, unlike Rotten Tomatoes, Metacritic seems to have few public standards. There's no detailed information on where it sources it critics from. Thus, the score potentially doesn't have as much weight behind it as Rotten Tomatoes does.

What Is the Best Movie Rating Website?

So we've now taken a look at IMDb, Rotten Tomatoes, and Metacritic, and listed their major pros and cons. As you might have guessed, there's no one website that's best for everything.

However, we can recommend each of these sites for different reasons:

IMDb is great for seeing what general audiences think of a movie. If you don't care what the critics say and want to see what people like yourself thought of a film, then you should use IMDb. Just be aware that fans often skew the vote with 10-star ratings, which may inflate scores somewhat.
Rotten Tomatoes offers the best overall picture of whether a movie is worth seeing at a glance. If you only trust the opinions of top critics and just want to know if a movie is at least decent, you should use Rotten Tomatoes. While the Fresh/Rotten binary can oversimplify the often complex opinions of critics, it should still help you weed out lousy films.
Metacritic offers the most balanced aggregate score. If you don't mind which critics' opinions go into the final score and prefer seeing a general average, then you should use Metacritic. Its standards are mostly unknown, but Metacritic makes it easy to compare professional and user reviews side-by-side.

Of course, there's nothing wrong with checking all three of these sites every time you're thinking of seeing a movie. Over time, you should figure out which site's tastes most match yours; then you'll know which is best for you personally.

Personal Taste Still Matters Most

Remember that movie scores aren't everything. All three of these sites don't, for instance, paint an accurate picture of movies that are so bad they're good. Because those movies are objectively terrible, they carry low scores even though they have ironic value.

Plus, it's impossible to sum up complex opinions from dozens of people into a single number. And no matter what the critics or general public think, your preferences might be totally different anyway. There's nothing wrong with enjoying a movie that most people find stupid. So while these sites are helpful, don't take them too seriously.

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‘Horizon: An American Saga — Chapter 1’ Review: The Beauty, and the Bloodshed

In the first of a projected four-film cycle, Kevin Costner revisits the western genre and U.S. history in a big, busy drama.

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A man in a cowboy hat rides on a horse with a line of donkeys behind him.

By Manohla Dargis

Midway through Kevin Costner’s big, busy, decentered western “Horizon: An American Saga — Chapter 1,” the actor Danny Huston delivers a brief speech. The year is 1863 — two years into the Civil War — and his character, a colonel in charge of a military fort in the southwest, is discoursing on a nearby settlement called Horizon. Apaches have recently burned the hamlet to the ground, killing scores of settlers. You simply need look at the land, the colonel says, to see why the newcomers will keep coming.

“You may recall that’s what drove us across the ocean to this country in the first place.”

Huston, an imposing presence with a rich, sepulchral voice that can suggest depths, delivers this nod at Manifest Destiny with arid sobriety. His words certainly sound meaningful yet this reference to American expansionism just hangs in the air, untethered from history or ideology. Given this nod as well as the film’s large scale, crowded cast, multiple story lines and nearly three-hour run time, it’s reasonable to assume that Costner will add context, commentary or, really, anything . Yet all that’s clear from “Chapter 1,” the lead-in for his splashily publicized four-film cycle , is that the land was vast and beautiful, and everyone wanted a piece.

“Chapter 1” is the first movie that Costner has directed since his 2003 western “Open Range,” an earnest period drama about free-grazing cattlemen facing down a wealthy rancher. What’s striking about that film, beyond how Costner draws from so many different genre touchstones — John Ford, Clint Eastwood and Sam Peckinpah, among others — is how he tries to honor old-fashioned westerns that he so clearly loves while also complicating the myth of the American West through his character, a violence-haunted gunfighter.

A version of that same man — tough, terse, good with a gun, not bad with the little ladies and now named Hayes Ellison — rides into “Chapter 1” about an hour in, handsomely framed against a bright blue sky. What takes him so long? Given how the movie plays like an extended prologue, I suspect that Costner timed his entrance for a four-part project rather than for a stand-alone film. That makes it tough to get a handle on precisely what he’s up to here, other than gesturing at history, re-engaging with an archetypically American genre and readying the foundation for an epic that will continue when “Chapter 2” opens in August.

Written by Costner and Jon Baird, “Chapter 1” features uneven lines of action that jump across the map, from the southwest to the Territory of Wyoming. In one section, bad men with good cheekbones, their dusters trimmed with animals skins à la Gladiatorial Rome, chase after a righteously violent woman (Jena Malone in a lively, credible turn). In time, they end up in one of those frontier towns with muddy streets and desperate characters, a sinkhole where Hayes rides in with some gold and exits with Marigold (Abbey Lee), a lady of the evening (and afternoon). In another section, Luke Wilson leads a wagon train peopled with tough Americans, Laplander goons and two British twits itching for some punishment.

The story line that revs up the action centers on the settlement, a riverfront hamlet on a ribbon of green that winds through the desert and has attracted the attention of a tribe of White Mountain Apache led by Tuayeseh (Gregory Cruz). Soon after the movie opens, the settlers are swinging their partners to fiddles like good John Ford folk; not long after, many are dead, cut down by Apaches. Among the survivors are the newly widowed, impeccably manicured Frances Kittredge (Sienna Miller) and her daughter, Elizabeth (Georgia MacPhail), who take refuge in the fort. There, they meet a first lieutenant, Trent Gephart (Sam Worthington), a thoughtful soul who refers to Native Americans as Indigenous.

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15 Notable Divides Between Audience and Critic Scores on Rotten Tomatoes

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Love it or hate it, the movie and TV review aggregator Rotten Tomatoes has become somewhat of a boogeyman in Hollywood, compiling both audience and critic opinions of a given title and evaluating its quality in a binary system as either "rotten" or "fresh." Often, the consensus among both regular movie-goers and critics is mostly unified, save for a small percentile difference on either side.

In the years since its inception, however, Rotten Tomatoes has played host to its fair share of divisive films, made evident through a misaligned gap between each demographic’s respective score. So, while critics' opinions often inform that of the general audience (and vice versa), films with divided Tomatometers like Venom and Us prove that in some cases, it’s best to agree to disagree.

15 'Don't Look Up' (2021) — 23% Divide

Directed by adam mckay.

Leonardo DiCaprio looking at Jennifer Lawrence in 'Don't Look Up'

The divisiveness in the discourse surrounding the allegorical satire Don’t Look Up was replicated in the Tomato-verse, where the Adam McKay film currently holds a 22% divide. While the sheer spectacle of Don’t Look Up ’s cast may have won most audiences over (earning a 78% score), McKay’s heavy-handed and overly ambitious messaging was critiqued by reviewers with a 55% Tomatometer. It may not be the biggest Rotten Tomatoes gap, but it sure is significant.

Despite the debate (or maybe because of it), Don’t Look Up became one of the lowest-rated Best Picture Oscar nominees on Rotten Tomatoes, an occurrence that undoubtedly didn't surprise its naysayers . That's the thing about these kinds of satires: As long as their themes and sense of humor fit audiences' tastes, it all works out; but it's just as easy for people to find them off-putting.

Don't Look Up

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14 'We're the Millers' (2013) — 28% Divide

Directed by rawson marshall thurber.

The comedic tale of a would-be drug dealer and his fake family found its star power in Jennifer Aniston and Jason Sudeikis , with enough zingy one-liners to compensate for a somewhat predictable third act. While audiences seemingly took comfort in We're the Millers ' formulaic take on the road movie, giving it a 76%, the film’s inability to make better use of its comedic talent left something to be desired among critics, with a 48% Tomatometer to prove it.

In any case, Jennifer Aniston’s rightful place as America’s sweetheart remained intact among both audiences and critics alike . The problem with the movie doesn't lie in the jokes or the cast, just in the lazily plotted storyline and the way it sort of squanders whatever potential the star-studded cast had .

Rent on Apple TV

13 'The Greatest Showman' (2017) — 29% Divide

Directed by michael gracey.

Zac Efron and Zendaya interacting in The Greatest Showman

Dazzling choreography and costume design were enough to win over general audiences in 2017's The Greatest Showman , only enhanced by energetic performances from the likes of Hugh Jackman , Zac Efron , and Zendaya . It's a feel-good tale of acceptance, with a few fun musical numbers thrown in for extra measure, which 86% of viewers loved. However, only 57% of critics were as approving.

While one of Hugh Jackman ’s great performances was enjoyed by both demographics, some were displeased with the depiction of the historical figure he portrayed: P.T. Barnum , a less-than-ethical entertainer and businessman that engaged in lots of shady practices during the course of his career. The film’s inaccurate take on its real-life showman was largely debunked by critics , though audiences didn't seem to mind nearly as much.

The Greatest Showman

12 'sausage party' (2016) — 32% divide, directed by conrad vernon and greg tiernan.

Animated bun and sausage in Sausage Party movie

Comedy is perhaps the most subjective movie genre. The kinds of humor that work for some may be entirely unappealing to others. So, when Seth Rogen ’s anthropomorphized groceries came to life in Sausage Party , they left critics salivating at an 82% Tomatometer score, but audiences with a bad taste in their mouths at a 50% rating.

Acclaimed by cinephiles for its raucously profane gags and unexpected intellectual depth , the film faced harsher criticism by general movie-goers, who perhaps sought the kind of thoughtless fun promised by Rogen’s less abstract films. Perhaps, then, this polarizing supermarket comedy is best left on the shelf.

Sausage Party

11 'us' (2019) — 32% divide, directed by jordan peele.

Close up of Lupita Nyong'o as Red looking at the camera with her hands on her face in Us movie

Perhaps it was the curse of the sophomore slump that steered audiences away from Jordan Peele ’s Us. The follow-up to Get Out promised all the popcorn-friendly trappings of its predecessor, but Us ' take on the home invasion genre may have been too subversive for horror-seeking movie-goers. They gave it a 61%, as opposed to critics' 93%.

The film's high concept was appreciated by cinephiles, who praised the film’s chess-like attention to detail and its particular comedic flair . Divisive as it might’ve been, critics and audiences found common ground in their equal appreciation of the award-worthy yet criminally snubbed lead performance by Lupita Nyong'o .

Watch on Fubo

10 'Passengers' (2016) — 33% Divide

Directed by morten tyldum.

Forlorn Jennifer Lawrence and onlooking Chris Pratt in Passengers movie

While neither demographic was particularly fond of Passengers (audiences only scored it a wanting 63%), critics seemingly had a harder time getting past the film’s problematic central premise (giving it 30% approval). For general movie-goers, Passengers ' big-budget sets and the natural chemistry of its leads might have compensated for Chris Pratt ’s concerningly flawed character.

Among more critical audiences, however, the protagonist’s decision to wake up Jennifer Lawrence ’s character was almost universally panned. Many claimed that, through a simple change of perspective, Passengers could have achieved "Fresh" status . Frankly, this is a story that warrants a better-written remake , because its premise could make for a tantalizing psychological thriller.

9 'Noah' (2014) — 34% Divide

Directed by darren aronofsky.

Russell Crowe and Jennifer Connelly in Noah

Darren Aronofsky has dipped his toes in all sorts of genres, including the Biblical epic, though he didn't really have as much success there as he had in others. His Noah stars Russell Crowe as the Biblical figure, a man chosen by God to undertake a momentous mission before an apocalyptic flood cleanses the world. Critics responded relatively well to the film, giving it a 75%, while less-receptive audiences earned it a score of 41%.

Arguably the strangest project of Aronofsky's career thus far, Noah was praised by most critics for its unique approach to the material and willingness to explore complex themes in quasi-surrealistic ways. But while critics found the film's weirdness to be a strength, viewers thought it made it absurd and confusing, brought down by an annoying sense of self-seriousness.

8 'Captain Marvel' (2019) — 34% Divide

Directed by anna boden and ryan fleck.

Brie Larson looking heroic in a desert in Captain Marvel

A rare case in which the usually satisfying formula of a superhero film was lost on the general audience but lauded by critics, Captain Marvel will have a hard time recuperating from her lackluster debut . Unable to meet the expectations of its Marvel viewership, fans gave the movie a 45% rating, while critics went for a much more lenient 79%.

What was perceived as miscasting on one end of the spectrum was, among critics, considered a progressive move within a male-dominated genre. This infused Captain Marvel with enough cultural relevance to offset its clichés and stand on its own within the broader MCU canon, becoming a surprise box office hit .

Captain Marvel

7 'the super mario bros. movie' (2023) — 36% divide, directed by aaron horvath and michael jelenic.

Mario and Luigi smiling with their fists raised in the air in The Super Mario Bros. Movie

In a year that in many ways defined the future of video game movie adaptations , a lot of pressure was resting on the shoulders of The Super Mario Bros. Movie , Illlumination's attempt at translating the adventures of the iconic jumping plumber into the silver screen. While critics were indifferent to the result (giving it a 59% score), audiences and their impressive 95% score were much more receptive.

Colorful, breezily paced, and filled to the brim with Easter eggs that Nintendo fans were delighted to see, the film certainly earned its rightful place in the hearts of families around the world , even if critics found the writing way too hollow to enjoy.

The Super Mario Bros. Movie

6 'spy kids' (2001) — 46% divide, directed by robert rodriguez.

Still from Spy Kids of surprised main characters

Somewhat unprecedented for a film that includes life-sized animated thumbs and flashy CGI, Spy Kids was a surprise critical hit upon its initial release in 2001, receiving a glowing score of 93% among professional reviewers. Audiences, much more unimpressed, gave it a score of 47%. It's not the worst audience score Rotten Tomatoes has seen, but it's certainly nothing commendable, either.

While it was the film’s main strength among critics, Spy Kids ' sheer absurdity was lost on general audiences . The Island of Lost Dreams , the first sequel, scored the franchise its second certified "Fresh" rating. However, the kids seemingly lost their mojo by the third film , which was later deemed "Rotten" by both critics and audiences.

Watch on Paramount+

5 'Star Wars: The Last Jedi' (2017) — 49% Divide

Directed by rian johnson.

The Last Jedi 's measly audience score of 42%, comparable to that of critics’ 91%, can perhaps be explained by the lofty expectations of its die-hard fanbase, who just two years prior were treated to an almost-universally loved film in the nostalgia-filled The Force Awakens . General cinephiles praised director Rian Johnson ’s filmmaking prowess, while years-long fans rejected the direction that the film took its characters in.

What resulted, in a rare case where a blockbuster swayed the oft-disapproving critic pool , was The Last Jedi receiving one of the lowest audience scores of any film in the Star Wars franchise. While the divide is stark, Disney’s eighth entry into the galaxy-spanning universe managed to perform well economically, scoring one of the biggest openings of any film in box office history.

Star Wars: Episode VIII - The Last Jedi

4 'uncharted' (2022) — 50% divide, directed by ruben fleischer.

Tom Holland as Nathan Drake in 'Uncharted'

Action movies based on video games don't have a great track record, and Uncharted was certainly not the one to break that pattern, as the 40% Tomatometer score for critics corroborates. Audiences would disagree, though, considering that they gave the film a 90% approval rating.

While the adaptation failed to capture the sense of scale and adventure of the games it's loosely based on, its abundance of eye-popping action set pieces and fun throwbacks to old adventure films was enough to make it a worthy audience darling. Though some more demanding viewers and die-hard fans of the series would go so far as to call it one of the weakest efforts in video game adaptation filmmaking in recent years, others would be much more generous.

3 'Venom' (2018) — 50% Divide

Directed by ruben flesicher.

Tom Hardy as Venom, baring his teeth with his tongue sticking out in Venom

While critics have grown increasingly tolerant (maybe even fond) of superhero movies, Tom Hardy ’s outing as Venom proved that their acceptance has limits. What was a pulpy popcorn treat for audiences (shown in their 80% score), filled with fan-service origin stories and Marvel-adjacent cameos, was for critics on the other end of the spectrum: an overstuffed mess worthy of a 30% Tomatometer score.

Perhaps the audience’s enjoyment of the film is what translated as depthless to a more analytical audience, but it’s a difference of opinions that nonetheless resulted in one of the Tomatometer’s most hotly-debated discrepancies. Venom may not have Rotten Tomatoes' biggest gap between audience and critic scores, but it comes surprisingly close . With Venom 3 already filming , only time will tell if it will receive a different response.

2 'Super Troopers' (2001) — 54% Divide

Directed by jay chandrasekhar.

super-troopers-broken-lizard-social-featured

As derided by critics as it is adored by its cult following, the 2001 crime comedy Super Troopers is about five Vermont state troopers who try to save their jobs and outdo the local police by solving a crime before them. Its deplorable critic score sits at only 36%, but the much-more-positive audience score that made it a timeless classic is at a whopping 90%.

The movie's Tomatometer critic consensus reads that it "will most likely appeal to those looking for something silly," and that's certainly what most of its fans love about it. Critics thought that its lowbrow humor and excessive length made for a somewhat unappealing time, but audiences think that it's irresistibly charming, outstandingly funny, and a blast of fun.

Super Troopers

1 'the boondock saints' (1999) — 65% divide, directed by troy duffy.

Norman Reedus and Sean Patrick Flannery as Murphy and Connor aiming their guns down in The Boondock Saints

The era-defining cult classic The Boondock Saints , about two Irish Catholic brothers who become vigilantes wiping out Boston's criminal underworld, has Rotten Tomatoes' biggest difference between critics' and audiences' scores for a major motion picture. Its Tomatometer is a measly 26%, while audiences raving about this action thriller in the style of Quentin Tarantino gavie it a fantastic 91% score.

Despite a star-studded cast featuring the likes of Norman Reedus and Willem Dafoe , the movie couldn't avoid being noteworthily divisive. While critics found it charmless and ugly, viewers thought that the humor complemented the film's exciting action scenes spectacularly .

The Boondock Saints

NEXT: Family Movies That Critics Loved, But Audiences Hated, According to Rotten Tomatoes

10 Movie Review Examples That Will Help You Write Better Reviews

Studying movie review examples is a great place to start if you’re looking for inspiration for your own movie reviews.

There is an overwhelming library of movie reviews to sift through, but having studied many reviews by Pulitzer Prize-winning film critics along with your average movie review articles published online, I’ve been able to find a few movie reviews that provide a great template for crafting a review of your own.

10 Detailed Movie Review Examples

The classic movie review.

Roger Ebert’s review of North is the perfect example of that.

1. “North” by Roger Ebert

“I have no idea why Rob Reiner, or anyone else, wanted to make this story into a movie, and close examination of the film itself is no help.”

The opening sentence of this movie review example makes it clear to the audience that Ebert did not enjoy the film in question and if they would like to know why, they are encouraged to continue reading.

“He [Elijah Wood] plays a kid with inattentive parents, who decides to go into court, free himself of them, and go on a worldwide search for nicer parents.”

Following the paragraph summarizing the main plot of the film, the movie review dives straight into the critique explaining why this film garnered the strong adjectives it received in the opening paragraph:

“This idea is deeply flawed. Children do not lightly separate from their parents – and certainly not on the evidence provided here, where the great parental sin is not paying attention to their kid at the dinner table.”

“What is the point of the scenes with the auditioning parents?… They are not funny. They are not touching. There is no truth in them.”

Ebert uses the middle paragraphs to dissect what does not work in the film.

“I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it.”

“‘North’ is a bad film – one of the worst movies ever made.”

And he makes it clear what plot and artistic choices played into his final assessment of the film.

The Real World Parallel Review

A movie review that can parallel the events occurring within the movie with events occurring outside of the movie shows a deeper level of critical thinking.

2. “The Flash” by Justin Chang

“‘The Flash’ is a time-travel story and a cautionary tale, a warning of how dangerous it can be to change the past or mess around with alternate realities.”

Same as with the classic movie review, this reviewer also hints at his overall sentiments towards the film.

“…this initially enjoyable, increasingly sloppy megabucks mess…”

“He gets stuck in the past and… winds up unwisely joining forces with a teenage version of himself (also Miller, with floppier hair), who’s had a much happier childhood but doesn’t (yet) have the Flash’s superheroic powers.”

“Really, though, is nostalgia that satisfying anymore?”

And it’s really this last sentence of the movie review example that ties this compelling thought together, not only concluding the movie but drawing a parallel to how the movie creators are perpetrators of the same mistake that the movie’s main character made.

“Lost in an endless game of IP-reshuffling musical chairs, Barry realizes, possibly too late, the futility of dwelling on the past — a fatuous lesson from a movie that can’t stop doing the same.”

3. “Bonnie and Clyde” by Roger Ebert

“‘Bonnie and Clyde’ will be seen as the definitive film of the 1960s, showing with sadness, humor, and unforgiving detail what one society had come to… it was made now and it’s about us.”

4. “Black Panther” by Soraya Nadia McDonald

Yet another movie review example is this Black Panther review by Soraya Nadia McDonald.

“Honestly, the worst thing about Black Panther is that it had to be released in 2018 and not during the term of America’s first black president.”

“Perhaps it’s even capable, just as The Birth of a Nation once was, of helping to steer an entire national conversation.”

READ THE FULL REVIEW OF Black Panther BY Soraya Nadia McDonald

The Storytelling Movie Review

5. “the help” by wesley morris.

One of my favorite reviews by Pulitzer prize-winning Wesley Morris is written in this style, drawing readers in with his own personal story:

“Three summers ago, I went to visit a friend in West Texas.”

“This pretty much captures the cognitive dissonance of watching “The Help’’: One woman’s mammy is another man’s mother.”

The following paragraph gives a synopsis of the film and introduces the audience to the main characters:

“Meanwhile, the heart of the film itself belongs to Aibileen Clark (Viola Davis) and Minny Jackson (Octavia Spencer), the two very different maids and best friends at the center of the story.”

“‘The Help’ joins everything from “To Kill a Mockingbird’’ to “The Blind Side’’ as another Hollywood movie that sees racial progress as the province of white do-gooderism.”

“And yet here’s the question you ask as you watch a black actor in 2011 play a white lady’s maid, decades and decades after that was the only job a black woman in Hollywood could get. What went through the minds of Davis, Spencer, and Aunjanue Ellis, who plays Hilly’s maid, as they put on those uniforms and went to work?”

Morris finishes off the review sure to reference the personal story that he introduced in the beginning before leaving the reader with something to ponder.

“These are strong figures, as that restaurant owner might sincerely say, but couldn’t they be strong doing something else?”

“On one hand, it’s juicy, heartwarming, well-meant entertainment. On the other, it’s an owner’s manual.”

6. “Me Without You” by Stephen Hunter

Instead of starting by talking about the movie or talking about himself, Hunter begins the review like a novel. With an untethered phrase that needs further explanation.

“Friendship isn’t rocket science. It’s much harder.”

“Oh, yeah, it’s easy to say just be loyal and true and that makes you a good friend. But suppose the other person does something that really irks you, like chew gum or vote Democratic?”

“And that thorniness, that dark underbelly of it, is the gist of the acerbic British import ‘Me Without You…'”

As usual, a sign of good storytelling, he finishes this movie review example with his full-circle concluding statement on friendship.

“But the truth is, of course, that friendship matters to those of us who still claim membership in the human race…”

The Unconventional Movie Review

7. “et” by roger ebert.

In another movie review example from Roger Ebert, instead of approaching this review traditionally, Ebert rather writes the review as a letter to his grandchildren.

“Dear Raven and Emil: Sunday we sat on the big green couch and watched “E.T. The Extra-Terrestrial” together with your mommy and daddy.”

“The camera watches Elliott moving around. And Raven, that’s when you asked me, “Is this E.T.’s vision?” And I said, yes, we were seeing everything now from E.T.’s point of view.”

Ebert uses this opportunity to make a simplified analysis of the director’s use of POV in the movie, praising the film’s direction without losing the context of a grandfather’s letter.

“Some other filmmaker who wasn’t so good might have had subtitles saying, “E.T.? Are you out there? It’s Mommy!” But that would have been dumb.”

“Well, that’s it for this letter. We had a great weekend, kids. I was proud of how brave you both were during your first pony rides. And proud of what good movie critics you are, too. Love, Grandpa Roger”

8. “Spider-Man Into the Spider-Verse” by IMO Flicks

Another unconventional movie review example is one that I wrote for this blog website.

The review does not include a clear synopsis and the critiques of the film waver between genuine observations and areas that the grandma misunderstood.

“My granddaughter told me to rate this spider film [ Spider-Man: Across the Spider-Verse ] out of 10 points. I initially wanted to give it 4 points out of 10… Apparently, my grandchildren think this rating is ridiculous. One of my grandsons almost threw a chair. He gave the film a 200/10, claiming it’s one of the best films he’s ever seen.”

The Self-Aware Review

Similar to the unconventional movie review, but not quite as unconventional, these movie review examples are self-aware of their influential power. It breaks the fourth wall of movie reviews so to speak.

9. “Manchester By the Sea” by Ty Burr

“Nothing destroys an audience’s appreciation of a small good movie like advance praise.”

“So I won’t tell you that I’ve seen “Manchester by the Sea” twice now and both times felt haunted for weeks.”

“I won’t bother you with how the movie stands as a soul-satisfying comeback for its maker…”

“I could say, but I won’t, that we’ve all seen too many movies in which a lost soul comes out of his shell and rejoins the human race after he inherits a kid from a dead relative.”

The entire center of the film covers the movie in a way that says, “You didn’t see me. I was never here.” Good and well knowing that people are going to be more curious about this film and expect it to be as fantastic as Burr says.

“If I do tell you all this, forget I ever did. Just remember you heard somewhere that “Manchester by the Sea” is an experience worth having…”

10. “Mark Kermode” by Mamma Mia

Kermode’s review of Mama Mia takes his self-awareness in a different direction where he personally loves the movie Mama Mia and is not afraid of letting the world know it.

“One minute I was a miserable critic; the next, everything had gone pink and fluffy.”

“I feel duty-bound to report that I came out of the screening an utter wreck.”

Further aware that as a serious critic, he probably shouldn’t like this film as much as he did, he lets his guard down and leans into the wonder of the film.

“I have certainly mellowed, and perhaps my critical faculties have withered and died. But I simply can’t imagine how Mamma Mia! Here We Go Again could be any better than it is.”

Common Questions

How to write a movie review.

To write a movie review you would need to watch the movie and take good notes, then you would craft an attention-hooking introduction, a few center paragraphs explaining your critiques of the film, before concluding on whether you’d recommend the film or not. This article breaks down the 10 steps to writing a movie review effortlessly .

What should a good movie review include?

What is the best movie review for students, in conclusion….

There are so many movie review examples to choose from but the majority can fall into one of these 5 groups: the classic movie review, the real-world parallel, the storytelling review, the unconventional review, and the self-aware review.

What’s your favorite movie review example? Let me know in the comments below!

When I'm not over-analyzing movies, I'm eating chocolate, belting my favorite songs, and binge-watching reality dating shows. Feel free to share your opinions with me and follow me through my social links!

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50 of the funniest, most searing movie reviews ever written

Movie reviewers have had some pretty scathing takes on films throughout the years.
One reviewer referred to a film as like "Grease: The Next Generation" acted out by the food-court staff at SeaWorld.
Another riffed "Some movies leave a bad taste in the mouth. This one causes full-on halitosis."

For many viewers, a movie can simply exist as something to fill a void of upwards of 90 minutes. Film critics, who spend their lives scribbling notes in dark theaters, ask for a little more.

" I have a colleague who describes his job as 'covering the national dream beat,' because if you pay attention to the movies they will tell you what people desire and fear in their deepest secrets," the late Roger Ebert wrote in 1992 . "At least, the good ones will. That's why we go, hoping to be touched in those secret places. Movies are hardly ever about what they seem to be about. Look at a movie that a lot of people love, and you will find something profound, no matter how silly the film may seem."

Sometimes the best thing to come out of a movie is a blistering review. INSIDER rounded up 50 of the funniest, most searing movie reviews ever written.

Critics said that heartbreak was preferable to watching "Valentine's Day."

"'Valentine's Day' is being marketed as a Date Movie. I think it's more of a First-Date Movie. If your date likes it, do not date that person again. And if you like it, there may not be a second date." — Roger Ebert , Chicago Sun-Times.

Critics eviscerated "Twilight," but the movie still made more than $390 million at the box office.

"I've had mosquito bites that were more passionate than this undead, unrequited, and altogether unfun pseudo-romantic riff on 'Romeo and Juliet.'" — Marc Salov , The Austin Chronicle.

"The Other Woman" wasn't a hit with critics.

"I know what you're thinking ... 'Enough beating around the bush. Just tell us whether you liked it.' Consider this, which I will say in terms this movie would understand, if you were on an airplane, 'The Other Woman' might not be preferable to simply staring into your empty airsick bag, but it has enough nicely executed physical comedy that in the event you become ill, it is definitely preferable to staring into your occupied airsick bag." — Linda Holmes , NPR.

"The Emoji Movie" has an 8% fresh rating on Rotten Tomatoes.

"This is a movie about how words aren't cool, but you can still expect a girl to fall at your feet in response to mild wordplay. Please keep up. Or throw whatever device you’re reading this on into the ocean. Send me a postcard ... tell me what it’s like to be free." — Kaitlyn Tiffany and Lizzie Plaugic , The Verge.

Netflix is making a sequel to "Bright" despite the fact it was totally panned by critics.

"While I had the misfortune to see 'Bright' in a theater, most people will simply press 'play' out of curiosity on their Roku remote. I am willing to concede that this might elevate the experience a little ... the ability to take a quick trip to the kitchen or restroom after shouting 'no, don't pause it' to your partner on the couch will be liberating." — Jordan Hoffman , Vanity Fair.

"Battlefield Earth" was a box-office bust and a critical failure.

"'Battlefield Earth' saves its scariest moment for the end: a virtual guarantee that there will be a sequel." — Desson Howe , The Washington Post.

The basic plot of "Milk Money" perplexed critics.

Roger Ebert imagined what the conversation between studio executives would have looked like when they greenlit the movie:

"Studio Executive A: Kind of like 'Working Girl Turns a Trick?'

"Studio Executive B: Cuter than that. We start with three 12-year-old boys. They're going crazy because they've never seen a naked woman.

"Studio Executive A: Whatsamatter? They poor? Don't they have cable?"

Even fans of the HBO series prefer to pretend "Sex and the City 2" doesn't exist, according to critics.

"When viewed as a rom-com, 'Sex and the City 2' is terrible and crappy and a horrific inversion of everything the show once was. But when viewed as a science fiction film, 'SATC2' is subversive, stylish and chilling. Like The Island from 'Lost,' we may never know The City's true identity — Is it a VR computer program? A malevolent interdimensional god? Satan?" — Cyriaque Lamar , i09.

Making fun of "Gigli" became a national past-time.

"Even making a little game of it, and trying to pinpoint the exact moment when Ben Affleck and Jennifer Lopez fell in love, stops being fun after a while. Perhaps it's when he says, in an attempt to seduce her, 'I'm the bull, you're the cow.' Or when she beckons him into foreplay by lying back in bed and purring, 'Gobble, gobble' — which could forever change the way you view your Thanksgiving turkey." — Christy Lemire , The Associated Press.

"The Adventures of Pluto Nash" wasn't a hit with critics.

"It's good to know that, if we have to leave Earth someday, we won't have to go without our kitsch. Forensics experts will be digging through the rubble of this fiasco for a long time, trying to reconstruct the accident. How did so many lines fall flat? Why were the action scenes so corny and unconvincing? Who put the stink on this?" — Jack Mathews , New York Daily News.

"Superbabies: Baby Geniuses 2" has a 2% fresh rating on Rotten Tomatoes.

" At its best/worst, 'Superbabies' hallucinatory idiocy inspires open-mouthed horror at what happens when an ill-conceived premise leads to even more jaw-droppingly misguided execution." — Nathan Rabin , AV Club.

Critics thought "Gotti" was so bad it was almost criminal.

"I'd rather wake up next to a severed horse head than ever watch 'Gotti' again. The worst movie of the year so far, the long-awaited biopic about the Gambino crime boss' rise from made man to top dog took four directors, 44 producers and eight years to make. It shows. The finished product belongs in a cement bucket at the bottom of the river." — Johnny Oleksinski , New York Post.

Critics got personal with their contempt for "Jaws: The Revenge."

"In the just-released 'Jaws: The Revenge' the shark's main course is intended to be Roy Scheider's widow, Ellen Brody, a frumpy middle-aged woman played by boring actress Lorraine Gary, who happens to be married to the president of MCA Universal, which finances the 'Jaws' films and which explains her lead role. Let's put it this way: When you see and hear the nasal Lorraine Gary on screen you want the shark to eat her." — Gene Siskel , Chicago Tribune.

"One Missed Call" didn't warrant anyone's attention, according to critics.

"The kid in front of me spent most of the movie playing Tetris on his phone. I didn't care enough about the movie to ask him to stop, or to find a cooler game." — Wesley Morris , The Boston Globe.

The critical response to "Jack Frost" was icy.

"With emotions as sincere as the soap flake snow on its sets, 'Jack Frost' goes on to show how much fun it is to have a snowman as a loving, though dead, father … As one more Hollywood effort to look on the sunny side of fatality, 'Jack Frost' is so sugarcoated that it makes other recent efforts in this genre look blisteringly honest." — Janet Maslin , The New York Times.

"The Snowman" left critics cold.

"'The Snowman' is like if aliens studied humanity and tried to make their own movie in an attempt to communicate with us. This simulacrum contains all the requisite pieces of a movie, but humanity got lost in translation." — Barbara VanDenburgh , The Arizona Republic.

Critics saw "Batman & Robin" as more of a cash-grab than a movie.

" The people who made this movie — which, as always, is set up for a sequel — will be laughing all the way to the bank. But isn't there someone in that bank who can lock them all inside a safety-deposit vault and throw away the key?" — Peter Rainer , The Phoenix New Times.

"Cool World" was almost universally hated by critics.

"The plot of Michael Grais' and Mark Victor's screenplay is even more nonsensical than it needs to be, revolving around frequent unmotivated trips between parallel cartoon and live-action universes, and around the question of whether cartoon women will have sex with human men." — Janet Maslin , The New York Times.

"Titanic" won 11 Academy Awards, but critics thought it took its sweet time getting to the point.

"'Titanic' is a good, often stunning movie caught in a three-and-a-half hour drift. As we marvel at the physical spectacle of the Titanic's last few hours, we're left staggeringly untouched by the people facing their last moments. This movie should have blown us out of the water. Instead, we catch ourselves occasionally thinking the unpardonable thought: 'OK, sink already.'" — Desson Howe , The Washington Post.

"Howard The Duck" was a one-note movie that prompted critics to question for whom exactly the movie was made.

"The story has no center; the duck is not likable, and the costly, overwrought, laser-filled special effects that conclude the movie are less impressive than a sparkler on a birthday cake. George 'Star Wars' Lucas supervised the production of this film, and maybe it's time he went back to making low-budget films like his best picture, 'American Graffiti.'" — Gene Siskel , The Chicago Tribune.

"Catwoman" is considered by critics to be one of the worst superhero movies ever made.

"The film could have turned out worse, but only via the addition of a Tom Green cameo, or an accident in which the actors caught on fire." — Keith Phipps , The AV Club

Critics thought "Mac and Me" was a discount version of "ET: The Extraterrestrial."

"'Mac and Me,' which opened yesterday at the Guild and other theaters, has a final police shootout and a fiery explosion in which Eric is the victim. When a doctor announced that Eric was gone, a small boy behind me said, 'He ain't dead,' with all the calm assurance of an experienced moviegoer who knows perfectly well that if E.T. came back, so would Eric. Cloning is a dangerous thing." — Caryn James , The New York Times.

Only a sucker would bother watching "Sucker Punch" after reading reviews.

"In the end, though the metaphor of mental institution as battleground is an interesting one to explore, that is not the analysis at the heart of this movie. Nope, 'Sucker Punch' is a two-hour $82 million fetish film examining how hot sad schoolgirls look when holding weapons. Snyder should have just made a porn movie — it might have been better, and it definitely would have been cheaper and more honest." — Dodai Stewart , Jezebel.

"Movie 43" prompted devastating reviews.

"It's as if 'Movie 43' was itself a feature-length f--- you to Hollywood, a movie made simply to show how bad a movie a studio could be induced to make and actors could be persuaded to act in." — Richard Brody , The New Yorker.

The best thing critics could say about "Fifty Shades Freed" was that the trilogy was finally over.

"Universal has had some fun with its marketing campaign, using the tag-line, 'Don't miss the climax.' It's a shame, though, that the posters exhibit considerably more ingenuity than the film itself." — Brian Lowery , CNN.

"A Christmas Prince" falls squarely in the category of "so bad it's good."

"It's a Netflix original movie, but it feels like a violation of nature that it somehow isn't from Lifetime or the Hallmark Channel. Nathan Atkins is credited with the screenplay, but this film is such a perfect amalgam of established tropes that I am not entirely convinced that isn't a pseudonym to keep us from discovering that Netflix has created the artificial-intelligence technology to generate a script using auto-complete." — Dana Schwartz , Entertainment Weekly.

"A Christmas Prince: The Royal Wedding" seemed to revel in shoddiness.

"It plays like a piece of Prince Harry and Duchess Meghan fan fiction, written by a child who actually doesn't know who they are but has watched the 'Princess Diaries' films." — Carly Mallenbaum , USA Today.

Critics thought "Batman v Superman: Dawn of Justice" was far too depressing for a superhero movie.

"An even less charitable way to put it is that a clearly excited 7- or 8-year-old kid sitting in front of me busted out crying and had to be whisked out of the theater by his father within the first five minutes. Perhaps he was unnerved by the harsh, operatic violence of Bruce Wayne's parents getting murdered — the mom's pearls get tangled around the gun, somehow, which allows for some very tight and poignant slow motion — or maybe he was offended by the notion that a 2016 Batman movie felt it necessary to depict Bruce Wayne's parents getting murdered. Either way, this kid bounced." — Rob Harvilla , Deadspin.

Critics thought "Transformers: The Last Knight" was simply too incoherent to describe.

"I'll admit, I've been dreading the thought of trying to at all explain the plot of this movie — even in broad, simple terms. I honestly had anxiety dreams last night about this moment. It's like staring at a projected kaleidoscope for two and a half hours and then trying to tell someone about the plot." — Mike Ryan , Uproxx.

Many thought "The Brown Bunny" was tedious and only remembered for its inclusion of one explicit scene.

"It's not really a movie. I suppose it's what could be called a recorded behavior. It simply reproduces, with some crude fidelity, the hapless anguish of a grieving man as he copes with his loss. It has no characters, it has no conflict, it has nothing that could be called a plot. It offers no reason to watch it — that is, no reason within the picture." — Stephen Hunter , The Washington Post.

Critics were thoroughly disgusted by "The Human Centipede," but they were also bored by it.

"This is one of those movies where victims repeatedly have opportunities to escape but choose not to, guaranteeing still more grotesque degradation, full of gore, torture, and sexual humiliation — and contains not an iota of wit or intelligence to justify any of it." — Michael Ordoña , The Los Angeles Times.

"Avatar" is still the highest grossing movie of all time, but not everyone was a fan.

"' Avatar' isn't about actors or characters or even about story; it's about special effects, which is fine as far as it goes. But for a movie that stresses how important it is for us to stay connected with nature, to keep our ponytails plugged into the life force, 'Avatar' is peculiarly bloodless. It's a remote-control movie experience, a high-tech 'wish you were here' scribbled on a very expensive postcard. You don't have to be fully present to experience 'Avatar'; all you have to do is show up." — Stephanie Zacharek , Salon.

Critics thought "I Know Who Killed Me" was embarrassing for everyone involved.

"Pretentious and inane, 'I Know Who Killed Me' arouses unexpected sympathy for its embattled star. 'Should we populate the movie with competent, strong performances, or were we looking for stars?' asks the producer, Frank Mancuso Jr., in the film's production notes. Out of the mouths of producers." — Jeannette Catsoulis , The New York Times.

Critics thought there was nothing redeeming about "Sorority Boys."

"I'm curious about who would go to see this movie. Obviously moviegoers with a low opinion of their own taste. It's so obviously what it is that you would require a positive desire to throw away money in order to lose two hours of your life. 'Sorority Boys' will be the worst movie playing in any multiplex in America this weekend, and, yes, I realize 'Crossroads' is still out there." — Roger Ebert , The Chicago Sun-Times.

"Forrest Gump" won multiple Academy Awards, but it still prompted some biting reviews.

"With two decades of perspective on 'Forrest Gump's triumph, you get the sense that '90s audiences were relieved to see a film that said it was OK — even honorable — to ignore all the bad stuff about war. So, too, was the Motion Picture Academy, which 12 months after lauding 'Schindler's List' decided, 'Screw it, let's give the awards to the movie that sells cookbooks.' — Amy Nicholson , LA Weekly.

Critics absolutely hated "Life Itself."

"'Life Itself' thinks you're stupid. Or, if not stupid, unable to understand how a movie should work. It's a movie made for people who can't be trusted to understand any storytelling unless it's not just spoon-fed but ladled on, piled high, and explained via montage and voiceover" — Kate Erbland , IndieWire.

"Ridiculous 6" felt intentionally offensive.

"There's the broad racism and misogyny of the piece. After the controversial walk-offs, Netflix claimed that this was 'satire.' It's not. There's nothing satirical about Sandler's bad Native American accent, which totally comes and goes, by the way, or Schneider's Hispanic caricature. Saying that this is satire is like the drunk guy at the bar telling you how many black friends he has after telling a racist joke. Don't fall for it." — Brian Tallerico , RogerEbert.com.

"The Village" felt like a waste of time to some.

" [M. Night Shyamalan] directs the material as if he'd written it (which he did), and not a single friend dared tell him the truth." — Mick LaSalle , SFGate.

The extreme level of product placement in "Crossroads" was an issue for critics.

"It turns out that 'Crossroads' is not a music video, not yet a movie, but more like an extended-play advertisement for the Product that is Britney." — Ann Hornaday, The Washington Post.

Critics thought "Grown Ups" was a lazy attempt at comedy.

"The movie is symptomatic of a social attitude that might be called the security of incompetence. There's something reassuring about a bad movie that doesn't ask you to think or feel or even pay attention ... we can all be happy D-minus students huddled together in communal self-disgust in a D-minus world." — Stephen Holden , The New York Times.

Critics thought "Grown Ups 2" was so bad that it made them appreciate the first movie.

"In 'Grown Ups 2,' which is set on the last day of school, our heroes are now all living in the same small town together, and everybody's pretty happy, so there's little to motivate the action. It makes the first movie look like 'The Maltese Falcon.'" — Bilge Ebiri , Vulture.

Some thought "Suburbicon" was too smug for its own good.

"You absolutely can fault [George Clooney] for wrongheadedness in making a movie that condemns racism, and specifically segregation in the postwar housing boom, albeit in the most broad, perfunctory, awareness-ribbon-wearing way while barely allowing its black characters to speak. 'Suburbicon' might be the biggest embarrassment to pious Hollywood liberalism since 'Crash' won best picture in 2006." — Chris Klimek , NPR.

"Mother!" may not have been enjoyable, but it certainly was memorable.

"I admired the camerawork, the wide-angle close-ups of flaring nostrils, and the pandemonium of the crowd scenes in the second half of the film when it goes haywire and insanity reign. It's an odd sensation to still remember moments of technical brilliance in a movie I never want to see again." — Rex Reed , The Observer.

Some thought "Freddy Got Fingered" was an embarrassment for everyone involved.

" This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels." — Roger Ebert , Chicago Sun-Times.

Critics thought there just wasn't anything funny about "Joe Dirt."

"Why do American audiences accept the stance that silly movies have to be terrible by definition? There's nothing enjoyable about 'Joe Dirt.' Absolutely nothing. Spade's generic nonperformance is the centerpiece of a very wobbly story, and he simply isn't enough of an actor to keep you interested." — Paul Tatara , CNN.

Critics thought "Fantastic Four" was the opposite of fantastic.

"My notebook usually remains near my lap, but at this movie, it made involuntary trips over my mouth to cover all of my gasping. The entire experience is shameful — for us, for the filmmakers, for whoever at the studio had the job of creating the ads, in which the cast appear to be starring in hostage posters." — Wesley Morris , Grantland.

"From Justin to Kelly" was embarrassingly amateur, according to critics.

"How bad is 'From Justin to Kelly?' Set in Miami during spring break, it's like 'Grease: The Next Generation' acted out by the food-court staff at SeaWorld." — Owen Gleiberman , Entertainment Weekly.

"National Lampoon's Gold Diggers" has a 0% fresh rating on Rotten Tomatoes.

"Just how repellent is 'National Lampoon's Gold Diggers?' So stupefyingly hideous that after watching it, you'll need to bathe in 10 gallons of disinfectant, get a full-body scrub and shampoo with vinegar to remove the scummy residue that remains. Some movies leave a bad taste in the mouth. This one causes full-on halitosis." — Jen Chaney , The Washington Post.

"Venom" was a tonally-uneven, muddled mess, according to most critics.

"For all of its cult potential, and my God, is this film rife with it, it is 'Venom's' insidious political intonations, which were entirely avoidable, that become the least palatable aspect of the film. And this is a movie where you see Tom Hardy eat out of a garbage can." — Sarah Tai-Black , The Globe and Mail.

"North" almost universally disliked by critics and prompted one of Roger Ebert's movie memorable reviews.

"' North' is one of the most unpleasant, contrived, artificial, cloying experiences I've had at the movies. To call it manipulative would be inaccurate; it has an ambition to manipulate, but fails … I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it." — Roger Ebert , Chicago Sun-Times.

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‘horizon: an american saga’ critics crush kevin costner’s western epic.

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Kevin Costner in "Horizon: An American Saga - Chapter 1."

Kevin Costner’s Western Horizon: An American Saga – Chapter 1 is new in theaters and critics largely aren’t impressed with his first of four planned Horizon movies.

Costner staged the world premiere of Horizon in May at the Cannes Film Festival in the South of France. However, a slate of bad reviews for Horizon out of Cannes was only the first blow for Costner. The second blow came in early June when The Hollywood Reporter noted that the film was tracking to make only $12 million in its opening weekend.

The number is concerning, considering the former Yellowstone star —per Variety —invested $38 million of his own money in the film’s $100 million production budget before prints and advertising. The rest of the movie, Variety added, was funded by two unnamed investors.

Warner Bros. is distributing the film, which is opening in 3,300 theaters on Friday.

One of the most damning reviews out of Cannes came from the Daily Beast with a headline that reads, “Kevin Costner’s ‘Horizon’ Is a Misogynistic, Racist, Retrograde Mess.”

Also in the Daily Beast review, critic Esther Zuckerman writes, “The biggest problem with Horizon is that, even with its lengthy running time, Costner has only scratched the surface of the ‘saga’ he’s trying to tell. There is no arc to what happens, just the seemingly unending introduction of characters. Chapter 1 doesn’t end. Rather it just trails off into a clip reel of what’s to come like one of those ‘this season on …’ promos that comes at the beginning of a television show.”

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Luckily for the actor-director-producer, there have been some positive notices rolling in for Horizon . The film currently has a 40% “rotten” rating from Rotten Tomatoes critics based on 68 reviews.

That number could go up or down depending on how many more RT critics weigh in throughout the film’s first weekend. However, it’s not looking good for the rating to rise, considering that Horizon started Thursday with a 50% “rotten” score and dropped 10 percentage points by Friday morning.

Critics’ ratings aside, the key number for Horizon is the amount of dollars the 3-hour and 1-minute film can make in its opening weekend. After all, a low turnout for Chapter 1 of Horizon won’t bode well for Chapter 2 , which is opening in theaters on August 16.

What Else Are Critics Saying About ‘Horizon: An American Saga Chapter 1’?

The official logline for Horizon: An American Saga reads, “Oscar-winning director Kevin Costner chronicles the incredible epic journey of the expansion of the American West, before and after the Civil War.

“Between the Native Americans who saw their lands getting colonized and those who were determined to settle there, sometimes at any cost, history is being written. In a flamboyant fresco where multiple destinies intertwine, dreams and hopes face obstacles and cruelty to offer a cinematic spectacle of exceptional scope and emotional depth.”

Among the positive reviews of the film on Rotten Tomatoes , Robbie Collin of the Daily Telegraph in the UK writes, “Part of the pleasure of Horizon is the sheer, magisterial sweep of the thing – with mountains and buttes and mesas like these, who needs CG? But its texture lives in small, telling details.”

Meanwhile, Helen O’Hara of Empire Magazine points out Horizon’s flaws but still notes, “It's fine for an epic to sprawl, but you want a sense of purpose at the same time, and this one sometimes loses its way. Still, it’s handsomely shot and well performed, a throwback to the glory days of event-movie horse operas.”

On the negative side, Katie Walsh of the Daily Tribune writes, “ Horizon is the kind of auteur project that makes one long for the idea of studio notes, for anyone to push back on Costner’s worst instincts. Unfortunately, he proves to be the judge, jury and executioner of his own passion project."

Brian Lowrey of CNN wasn’t impressed with Horizon either, writing, “Nobody has done more to keep the western flame kindling on the big screen than Kevin Costner, but the audacity of his latest rodeo feels like overreach, if not outright folly.”

If it’s any consolation, the RT Audience Score is 71% “fresh” based on 100-plus viewer ratings.

Also starring Sienna Miller, Sam Worthington and Michael Rooker, Horizon: An American Saga opens in theaters nationwide on Friday.

Note: This story has been updated to reflect the updated Rotten Tomatoes critics’ score through Friday morning.

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‘Kalki 2898 AD’ Review: Lavish Tollywood Sci-Fi Epic Is an Unabashedly Derivative Spectacle

Telugu cinema superstar Prabhas swashbuckles as a Han Solo clone.

By Joe Leydon

Film Critic

‘Kalki 2898 AD’ Review: Lavish Tollywood Sci-Fi Epic Is an Unabashedly Derivative Spectacle 1 day ago
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With “ Kalki 2898 AD ,” Telugu cinema filmmaker Nag Ashwin rifles through a century of sci-fi and fantasy extravaganzas to create a wildly uneven mashup of everything from Fritz Lang’s “Metropolis” to Marvel Comics movies, underpinned by elements from the Hindu epic poem “Mahabharata.” It’s billed, perhaps optimistically, as the first chapter of the Kalki Cinematic Universe franchise — which makes it part of a larger trend, since it launches the same weekend that Kevin Costner’s multi-film “Horizon” saga does in the U.S.

Reviewed at AMC Fountains 18, Houston, June 26, 2024. Running time: 181 MIN.

Production: An AA Films release of a Vyjayanthi Movies production. Producer: C. Aswini Dutt.
Crew: Director, writer: Nag Ashwin. Dialogue: Sai Madhav Burra. Camera: Djordje Stojiljkovic. Editor: Kotagiri Venkateswara Rao. Music: Santhosh Narayanan.
With: Prabhas, Amitabh Bachchan, Deepika Padukone, Kamal Haasan, Disha Patani. (Telugu, English dialogue)

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'Green Border' is the strongest movie this critic has seen all year

John Powers

Agnieszka Holland's film, which won the Special Jury Prize at the Venice Film Festival, centers on a refugee family trying to escape to Western Europe and the people who try to help and stop them.

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What critics are saying about ‘the bear’ season 3.

The Emmy-winning show is back and critics are praising its third season, which keeps its characters in limbo while having the occasional knockout moment.

By Kevin Dolak

Kevin Dolak

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Jeremy Allen White as Carmen 'Carmy' Berzatto on FX's "The Bear."

Attention fans of Peak TV: The Bear is back . The reigning champion for the best comedy Emmy has returned for season three for more ennui and dark humor with Carmy Berzatto, the show’s prestige chef played by Jeremy Allen White who returns to Chicago to run the wildly stressful kitchen at his late brother’s sandwich shop.

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