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Furiosa: A Mad Max Saga

Moviepass, moviecrash, we are lady parts: season 2, jim henson idea man, senua's saga: hellblade ii, killer klowns from outer space: the game, the garfield movie, paper mario: the thousand-year door, editorial spotlight.

June 2024 TV Preview

Jason dietz.

These are the most notable new and returning TV shows and streaming movies debuting in the month of June, including new seasons of House of the Dragon and The Bear.

Cannes Film Festival 2024: Best and Worst Films

Keith kimbell.

Which films at the 77th Cannes Film Festival wowed our critics, and which ones failed to deliver? We recap the just-concluded festival with a list of award winners and review summaries for dozens of films making their world premieres in Cannes, including new titles from David Cronenberg, Yorgos Lanthimos, Andrea Arnold, Kevin Costner, Jia Zhang-Ke, Ali Abbasi, Michel Hazanavicius, Paul Schrader, and more

Every Cannes Palme d'Or Winner Since 1990, Ranked

(Updated May 2024) We rank every winner of the top award at the annual Cannes Film Festival (dating back to 1990) from worst to best based on Metascore.

Every George Miller Movie, Ranked

We rank every movie directed by George Miller—including his latest Mad Max spinoff, Furiosa—from worst to best according to professional film critics.

Every Francis Ford Coppola Movie, Ranked

We rank every movie directed by Francis Ford Coppola throughout his six-decade career including his newest film, Megalopolis.

Every Richard Linklater Movie, Ranked

(Updated January 2024) We rank every one of director Richard Linklater's films from worst to best, including his latest, Hit Man.

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The Gold Standard in Critical Analysis

The metascore breakdown.

• We collect reviews from the world's top critics.
• Each review is scored based on its overall quality.
• The summarized weighted average captures the essence of critical opinion.

Latest News

What to watch on prime video right now.

Get a list of the best movies and TV shows recently added (and coming soon) to Amazon's Prime Video, updated frequently.

New Free & Subscription Games for All Platforms

Our frequently updated list shows the latest free games available from Epic Games Store, IndieGala, Steam, Fanatical, GOG, and more as well as new and upcoming titles added to subscription services like Game Pass, PlayStation Plus, Prime Gaming, and Humble.

DVD/Blu-ray Releases: New & Upcoming

Find a list of new movie and TV releases on DVD and Blu-ray (updated weekly) as well as a calendar of upcoming releases on home video.

Notable Video Game Releases: New and Upcoming

Find release dates and scores for every major upcoming and recent video game release for all platforms, updated weekly.

2024 Movie Release Calendar

Find a schedule of release dates for every movie coming to theaters, VOD, and streaming throughout 2024 and beyond, updated daily.

What to Watch on Peacock Right Now

Get a list of the best movies and TV shows recently added (and coming soon) to the Peacock streaming service, updated frequently.

What to Watch on Max Right Now

Get a list of the best movies and TV shows recently added (and coming soon) to Max--plus all of the titles leaving the streaming service this month--updated frequently.

What to Watch on Paramount+ Right Now

Find a list of the best movies and TV shows recently added to Paramount+ and Paramount+ With Showtime, plus a list of titles coming soon to the streaming services.

What to Watch on Netflix Right Now

Get a list of the best movies and TV shows recently added (and coming soon) to Netflix, updated frequently. You can also find a list of titles leaving Netflix this month.

What to Watch on Hulu Right Now

Get a list of the best movies and TV shows recently added (and coming soon) to Hulu, updated frequently.

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MoviePass, MovieCrash

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For Love & Life: No Ordinary Campaign

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Tomris Laffly

The Beach Boys

Brian tallerico.

Monica Castillo

Peyton Robinson

STAX: Soulsville, USA

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Horizon: An American Saga - Chapter 1

Robert daniels.

Back to Black

The Strangers: Chapter 1

The Big Cigar

You Can't Run Forever

Glenn Kenny

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Simon abrams.

Taking Venice

Furiosa: A Mad Max Saga

Nothing Can't Be Undone by a HotPot

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Best Movies 2021

The Best Movies category awards the best-reviewed film regardless of their release, whether they went straight to streaming or swung onto the silver screen. Spider-Man: No Way Home became the mega-cultural event that would entice moviegoers back into theaters, and it lived up to the hype for critics, as well. It was a music-filled year with In the Heights , West Side Story , and Summer of Soul . On the heavy side, some big tomatoes for Pig and a career-best Nicolas Cage, Jane Campion’s first-in-11-years The Power of the Dog , and A Quiet Place Part II , everyone’s collective exhalation through horror. Meanwhile, Raya and the Last Dragon , The Mitchells vs the Machines , and Coda brought representative, progressive ingredients to family storytelling.

The order reflects Tomatometer scores (as of December 31, 2021) after adjustment from our ranking formula, which compensates for variation in the number of reviews when comparing movies or TV shows.

Spider-Man: No Way Home (2021) 93%

In the Heights (2021) 94%

Summer of Soul (...Or, When the Revolution Could Not Be Televised) (2021) 99%

Pig (2021) 97%

The Power of the Dog (2021) 94%

CODA (2021) 94%

Raya and the Last Dragon (2021) 93%

West Side Story (2021) 92%

A Quiet Place Part II (2021) 91%

The Mitchells vs. the Machines (2021) 97%

The Suicide Squad (2021) 90%

Shang-Chi and the Legend of the Ten Rings (2021) 91%

Shiva Baby (2020) 97%

The Velvet Underground (2021) 98%

The Truffle Hunters (2020) 97%

Quo vadis, aida (2020) 100%.

Luca (2021) 91%

Slalom (2020) 100%

Drive My Car (2021) 97%

Coded Bias (2020) 100%

The Sparks Brothers (2021) 95%

Parallel Mothers (2021) 96%

The Lost Daughter (2021) 94%

Mayor (2020) 100%

Two of Us (2019) 98%

Mass (2021) 95%

Luzzu (2021) 98%

Changing the Game (2019) 100%

Acasa, My Home (2020) 100%

Sabaya (2021) 100%

More golden tomato awards 2021.

Best Wide Release Movies 2021

Best Limited Release Movies 2021

Best Streaming Movies 2021

Movie & TV News

Featured on rt.

Poll: Most Anticipated TV and Streaming Shows of June 2024

May 29, 2024

Poll: Most Anticipated Movies of June 2024

Deadpool & Wolverine : Release Date, Trailer, Cast & More

The Most Anticipated Movies of 2024

Top Headlines

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• Best Horror Movies of 2024 Ranked – New Scary Movies to Watch –

• Behind the scene

IMDb (Internet Movie Database); best movie critic websites:‎

IMDb is a well-known platform that serves as a one-stop destination for movie information. While it ‎primarily focuses on providing a comprehensive database of films, it also includes user-generated reviews ‎and ratings. IMDb’s extensive user community makes it a valuable resource for gauging public opinion on ‎movies of all genres.‎

Metacritic; movie critic website:‎

Metacritic stands out by presenting a metascore, which is a weighted average of scores from various ‎critics. This unique approach provides a quick snapshot of critical reception. Metacritic also includes user ‎reviews, allowing readers to explore a broader range of opinions.‎

You may also be interested in this: Top Movie Review YouTube Channels

Letterboxd:‎

Letterboxd is a social networking site for film enthusiasts. It offers a platform for users to log, rate, and ‎review movies they have watched. Letterboxd fosters a vibrant community that encourages discussions ‎and recommendations, making it an excellent resource for cinephiles to discover new films.‎

Criticker; movie review aggregator websites:‎

Criticker adopts a personalized approach to movie recommendations. Users rate films they have watched, ‎and the website’s algorithm suggests other movies based on their ratings. This collaborative filtering ‎system helps users find movies that align with their tastes and preferences.‎

FilmAffinity:‎

FilmAffinity is a Spanish-based movie review website that boasts an extensive international user ‎community. It features user-generated reviews and ratings, along with personalized movie ‎recommendations. FilmAffinity’s multicultural perspective makes it a valuable resource for exploring films ‎beyond mainstream Hollywood.‎

You may also be interested in this: Best Cinema Critics

Reddit, a popular online platform, hosts various communities dedicated to movies and film criticism. ‎Subreddits such as r/movies and r/TrueFilm provide spaces for discussions, sharing recommendations, and ‎reading insightful reviews. The diverse user base ensures a broad range of opinions and perspectives.‎

The Guardian’s Film Section; professional movie critic websites:

‎ The Guardian’s film section is a reputable source of movie reviews and features articles written by ‎experienced critics. Known for its thoughtful analysis and in-depth coverage, The Guardian provides ‎readers with well-crafted reviews that delve into the artistic and thematic aspects of films.‎

Best Cinema Review

BestCinemareview.com is a newly established website designed and updated daily by a group of cinema enthusiasts. The site introduces you to the best movies and series, and provides analysis of both classic and modern cinema.

When you visit BestCinemareview.com, you will find various sections, including Reviews (In-depth reviews of recently released movies and TV series), Genres, The Bests, Biography, Behind The Scene and Anime

Are movie critics biased?‎

The question of whether movie critics are biased is a complex one. While it is true that critics, like any ‎other human beings, have their own subjective preferences, it does not necessarily mean they are ‎inherently biased. Here are a few factors to consider:‎

Subjectivity and Personal Taste:‎

Movie criticism is inherently subjective because art, including film, is open to interpretation. Critics bring ‎their personal backgrounds, experiences, and tastes to their reviews, which can influence their opinions. ‎What resonates with one critic may not resonate with another. However, reputable critics strive to ‎evaluate films based on their artistic merits, storytelling, technical aspects, and cultural significance, rather ‎than solely on personal preferences.‎

Professionalism and Expertise:‎

Many movie critics have dedicated their careers to studying and analyzing films. They possess extensive ‎knowledge about film history, theory, and the craft of filmmaking. Their expertise allows them to provide ‎informed perspectives and critical insights. While personal biases may still exist, professional critics usually ‎aim to provide objective analyses and consider the broader context of a film’s production and cultural ‎impact.‎

Different Approaches and Critical Schools:‎

Film criticism encompasses a wide range of approaches and methodologies. Some critics focus on formal ‎analysis, examining the technical aspects of a film, while others emphasize the socio-cultural or political ‎implications of a movie. Critics may align with different critical schools or philosophies, which can result in ‎varying interpretations and evaluations. These diverse perspectives contribute to a well-rounded ‎understanding of a film’s strengths and weaknesses.‎

Influence and External Factors:‎

Critics, like any public figures, can be influenced by external factors such as industry relationships, ‎marketing campaigns, or personal biases. Some critics may succumb to these pressures, consciously or ‎unconsciously, affecting the objectivity of their reviews. However, reputable critics strive to maintain their ‎integrity and independence, providing honest opinions regardless of external influences.‎

Reader-Reviewer Relationship:‎

It is essential to recognize that movie criticism is a dialogue between the critic and the audience. Readers ‎often seek out critics whose opinions align with their own tastes or whose writing style resonates with ‎them. Therefore, what may be perceived as bias by some could simply be a critic’s consistent perspective ‎or writing style that attracts a specific audience?‎

When it comes to finding reliable movie reviews, these movie critic websites offer a range of perspectives ‎and insights. Rotten Tomatoes , IMDb, Metacritic , Letterboxd, Criticker, FilmAffinity, Reddit, and The ‎Guardian’s film section are just a few examples of the excellent resources available online. By exploring ‎these platforms, movie enthusiasts can make informed decisions about which films to watch, ensuring ‎their movie-watching experiences are both enjoyable and enriching.‎ In addition to these websites, some film and series production platforms such as Netflix or Amazon Prime ‎sometimes review films and series.‎

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IMDb vs. Rotten Tomatoes vs. Metacritic: Which Movie Ratings Site Is Best?

IMDb, Rotten Tomatoes, and Metacritic are the three most popular ratings sites for movies, but they aren't all equal.

Thanks to online ratings, it's easier than ever to know whether or not a movie is worth watching. A quick Google search brings up plenty of websites offering their opinions on the latest films.

The three most popular are IMDb, Rotten Tomatoes, and Metacritic. But how do these sites differ, and which should you trust for information on movies? Here's everything you need to know.

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.

Best Sites For Rating Movies: 6 Top Movie Review Websites

Our society has grown to worship movies. This can be seen in the sheer number of movies made each year, some good and some bad. Because there are so many to choose from, finding a good one can be a challenge.

Movies now make up a huge part of the entertainment industry. But with so many choices comes the problem of finding the best ones to watch.

It would take hours upon hours to watch every movie made in a year, and even then you’d likely miss some great ones. So how can we solve this problem?

The answer reviews. Reviews allow us to get an idea of whether or not others liked the movie before we decide if it’s worth watching ourselves.

BEST SITES FOR RATING MOVIES

What are movie review sites.

Movie review sites like IMDb, Rotten Tomatoes, Metacritic, and Letterboxd are great places to find out what a movie is all about.

They can also be useful for finding out if your favorite actor has been in other movies you may have missed.

Movie review websites are one of the best ways to learn what critics think of a movie and how they feel about it.

The more information you can gather on a film, the better informed you’ll be when you decide whether to watch it or not.

Movie review sites don’t really have any effect on box office sales, but they can make a huge difference in determining what kind of an impact a movie will have on consumers.

A review helps us determine if others were entertained by a movie before we spend our time and money on it.

Picking a movie to watch can be hard. You have your mood to consider, the weather, and the amount of time you have available.

And who to see it with? But even after all that, one question remains — is it any good?

With sites like Letterboxd, the answer is now as easy as logging into your social media account.

The internet can be an overwhelming place when trying to find a good, reliable movie review site.

With so many sites out there, it’s hard to know which ones are actually worth your time.

With that in mind, we’ve put together a list of the best movie review sites out there. Not everyone will be for everyone, but each reviewer has something unique to offer that makes it worth checking out.

Best Sites For Rating Movies

If you love the cinema, and you’re constantly looking for the best ways to keep up to date with what’s new and what’s upcoming, then one of these sites is going to be perfect for you.

Below, we’ve gone through some of the most popular movie websites on the internet today and reviewed them, so that you can find out which site is best for your film needs.

Let’s start off with my personal favorite!

Letterboxd is a social network for sharing your taste in film. Keep a watchlist of films you’d like to see, and create lists/collections on any topic. Rate, review, and tag films as you add them. Find and follow friends to see what they’re enjoying.

Keep a diary of your film viewing, check in to films at theaters, and share your thoughts with the world. Search a database of over 2 million films, with filters that can refine your results by anything from decade and genre to personal ratings and reviews.

From Letterboxd themselves: “We’re proud of our place in a burgeoning ecosystem of film-related apps and websites that complement Letterboxd’s focus on social sharing, curation, and discovery.

In that spirit, we offer a range of developer tools to help integrate Letterboxd data into other applications and websites — you can explore these on our developer site.”

My Letterboxd profile can be found here, btw: FilmLifestyle’s Letterboxd profile . Give me a follow!

Try Letterboxd

iCheckMovies

iCheckMovies helps you keep a personal list of movies you have seen and liked. It’s a checklist more than anything else.

The main part of the site is the List, which is essentially a ‘Best Movies Ever’ list, as voted by users. Each movie in the list has been checked by at least 2 users.

The goal of the site is to provide an easy way to create and share your own customized list of favorite movies.

You can compare your lists with friends and explore other people’s lists. iCheckMovies helps you keep a personal list of your favorite movies and shows

• Create your own list of favorites to keep track of what you have seen and liked.
• Discover new movies by browsing lists created by our users.
• Compare your taste with other users and see how many movies you have in common.
• Explore the top-rated, most popular, and most discussed movies by our users.
• Get suggestions for movies and shows to watch based on your taste.

Originally a fan-operated website, the database is owned and operated by IMDb.com, Inc., a subsidiary of Amazon.

IMDb has approximately 4.7 million titles (including episodes) and 8.3 million personalities in its database,  as well as 83 million registered users.

IMDb stands out for its vast collection of film and television information. It’s not just a place for ratings; it’s a comprehensive resource for release dates, cast and crew details, trivia, and forums for discussion.

With user-contributed content and professional critic reviews, IMDb offers a balanced view of a film’s reception. Its integration with Amazon also allows for easy viewing options.

Matt Crawford

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Great guide to the top sites for rating movies.

Thanks, Jaani.

I would like to receive the latest movies before selling them. Thanks

Can’t help you there, Jurugo.

There are many websites that offer movie reviews and ratings, but here are six of the top sites:

Rotten Tomatoes: Rotten Tomatoes is one of the most popular movie review websites. It aggregates reviews from both professional critics and regular movie-goers to provide an overall score for each film.

IMDb: IMDb is a comprehensive database of movies information that also includes user reviews and ratings. Its Top Rated Movies list is based on user ratings, and it’s a great place to find information about upcoming movies.

Metacritic: Like Rotten Tomatoes, Metacritic aggregates reviews from critics, but it also assigns a weighted score to each review based on the critic’s track record. The site’s Metascore is often used as a shorthand for a movie’s critical reception.

Letterboxd: Letterboxd is a social media platform for movie lovers that allows users to rate and review films, create watchlists, and follow other users with similar tastes. Its recommendation algorithm is known for being particularly effective.

RogerEbert.com: Roger Ebert was one of the most respected film critics of his time, and his website continues to offer thoughtful and insightful reviews from a team of writers. The site also includes essays, interviews, and other film-related content.

Empire: Empire is a UK-based magazine that covers movies, TV shows, and video games. Its website includes reviews, news, and features, and its annual Empire Awards are highly respected within the industry.

Thanks for the contribution, Rizwan.

Amazing content, thanks for sharing

Thanks, Kelvin.

I think that Toy Story is worth watching than Star wares Where it doesn t have have the force

Fair enough, Joel.

Great content, thanks for sharing

Cheers, Jenny.

great content, thanks for sharing

In India idmb is the best website for movie review after all your content is very informative and best knowledge provides.

Thanks, Hemant.

I have updated my knowledge after reading the information given on your site, thank you so much for such an awesome article.

Thank you for sharing such an informative and well-structured post on movie rating sites. The content was organized in a way that made it easy to navigate and find specific information.

Thanks, Soumen.

Toy Story, in my opinion, is more entertaining to watch than Star Wars because it lacks the force.

I see what you did there!

Great article on movie rating sites!

Thanks, rizwan

Brilliant article

These movie review websites are a lifesaver when it comes to choosing what to watch. Thanks for curating this list!

I’ve been looking for reliable movie review sources, and this article just made my search a whole lot easier. Kudos!

Thanks, Kuliah.

I’ve been looking for reliable movie review sources, and this article just made my search a whole lot easier. Kudos!

Thanks a lot, yousif.

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Furiosa: A Mad Max Saga (2024)

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Critic’s Pick

‘Hit Man’ Review: It’s a Hit, Man

Glen Powell stars in one of the year’s funniest, sexiest, most enjoyable movies — and somehow it’s surprisingly deep, too.

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By Alissa Wilkinson

If I see a movie more delightful than “Hit Man” this year, I’ll be surprised. It’s the kind of romp people are talking about when they say that “they don’t make them like they used to”: It’s romantic, sexy, hilarious, satisfying and a genuine star-clinching turn for Glen Powell, who’s been having a moment for about two years now. It’s got the cheeky verve of a 1940s screwball rom-com in a thoroughly contemporary (and slightly racier) package. I’ve seen it twice, and a huge grin plastered itself across my face both times.

That’s why it’s a shame most people will see it at home — Netflix is barely giving it a theatrical release before it hits streaming even though it’s the sort of movie that begs for the experience of collective gut-splitting joy. Oh well. If you can see it in a theater, it’s worth it. If not, then get your friends together, pop some popcorn and settle in for a good old-fashioned movie for grown-ups.

The director Richard Linklater and Powell collaborated on the “Hit Man” script, which is loosely based on Skip Hollandsworth’s 2001 Texas Monthly article about Gary Johnson, a faux hit man who actually worked for the Houston Police Department. In the movie version, Gary (Powell) is a mild-mannered philosophy professor in New Orleans with a part-time side gig doing tech work for law enforcement. One day, he is accidentally pulled into pretending to be a hit man in a sting operation, and soon realizes he loves playing the role.

Or roles, really: The more Gary gets into it, the more he realizes that each person’s fantasy of a hit man is different, and he starts to dress up, preparing for the part before he meets with the client. (If this movie were solely constructed as a de facto reel demonstrating Powell’s range, it would work just fine.) Then, one day, pretending to be a sexy, confident hit man named Ron, he meets Madison (Adria Arjona, practically glowing from within), a put-upon housewife seeking his services. And everything changes for Gary.

A great deal of the enjoyment of “Hit Man” comes from simply witnessing Powell and Arjona’s white-hot chemistry. Seeing Powell transmogrify from nerdy Gary to five o’clock shadow Ron and back again is both hilarious and tantalizing, while Arjona has a big-eyed innocence crossed with wily smarts that keeps everyone, including Gary, guessing. Multiple layers of deception keep the movie from feeling formulaic — you’re always trying to keep track of who thinks what, and why. Eventually, when “Hit Man” morphs into a kind of caper comedy, part of the joy is rooting for characters as they make choices that are, at best, flexibly ethical. In doing so, we get to be naughty too. In a movie starring a philosophy professor, that’s especially funny, a wry joke on us all.

But there’s more surprising philosophical depth in “Hit Man” than meets the eye. While on the surface it’s more or less a romantic comedy, beneath the hood it’s a coming-of-age story for Gary, whose life has stagnated. After a divorce, he lives alone with his two cats named Id and Ego and a large collection of plants; his students make fun of him for driving a Honda Civic, and he eats cereal for dinner. Gary is perfectly content with his life, or at least he thinks he is. But it slowly becomes clear the simplicity is less choice and more comfort zone. He’s lost himself somewhere along the way. He’s ruled out the possibility of surprise and adventure. Being a fake hit man gives him the possibility of inhabiting other selves, other lives — of trying on identities for size.

The question of the self — where it resides, whether we’re stagnant or able to change — has long been a fixation for philosophers, and Gary is no different. He declares his “primary interest” to be “the eternal mystery of human consciousness and behavior.” At the start of the semester, he tells his students that they’ll be challenging the notion of the self that semester, from social identity to close relationships. “What if your ‘self’ is a construction, an illusion, an act, a role you’ve been playing every day since you can remember?” he asks them, smiling. Teacher, teach thyself.

That inquiry is woven throughout “Hit Man,” which takes a definite point of view on the subject. Yes, the self is changeable — but it takes a bit of bravery to discover who you want to be. What’s more, no man is an island. The self doesn’t change when we grit our teeth and decide to be different, but when other people see us, recognize who we are and decide to love us for it.

Don’t get me wrong. I can imagine some enterprising philosophy teachers constructing extra credit assignments around “Hit Man,” but it definitely doesn’t feel like homework. You don’t even have to pick up on the headier bits to have a load of fun. It’s radiant and loose and confident, the kind of movie that you can just tell was a blast to make, which makes it a blast to watch. As our overstuffed big-budget era starts to falter, let’s hope they start making movies like this again.

Hit Man Rated R for a few artfully shot sex scenes, some bad language and a bit of hit man work. Running time: 1 hour 55 minutes. In theaters.

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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‘Animale’ Review: A Bullish Sophomore Effort from French Director Emma Benestan

This year's Cannes Critics' Week program closes with a slow-burn animal transformation drama, starring 'Divines' breakout Oulaya Amamra.

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From Jekyll and Hyde to the Wolfman, to much more recent twists on atavistic transformations, the concept of shape-shifting has always been a popular one in fiction — with storytellers turning the dial up or down on the potential social commentary therein, according to taste and preference. In “ Animale ,” the closing film of this year’s Cannes Critics’ Week section, director Emma Benestan is rather more interested in the interpersonal dynamics navigated by 22-year-old female bull-runner Nejma (Oulaya Amamra) than in really savouring some promising horror implications. She gives Dr. Jekyll center stage, as it were, rather than getting too involved with Mr. Hyde. Nejma works at a ranch in Camargue, France, where bulls are raised to compete in the arena for baying crowds of exhilarated spectators. It is a traditionally masculine environment: From the bulls to the men who wrangle them, the emphasis is on displays of physical strength and ferocity. It’s hardly the place for a young woman, at least in the eyes of some of the men who work there. Others are keener on her presence, but that’s certainly not because they are feminists. Nejma represents an opportunity for, at very best, some off-colour teasing. More sinister subtexts are not difficult to parse from the get-go. It’s not only the ranch-hands who struggle with the notion of Nejma’s chosen line of work. Her mother expresses concern that she could be gored in the abdomen, which seems a fair point, until she adds the wild corollary that it could prevent Nejma from having children in the future, which feels like the last thing you would be worried about at the moment of impact. The filmmaking is at its most successful when it moves away from dialogue-driven sequences and into the more visual, visceral aspects of Nejma’s chosen line of work. The bulls are filmed beautifully by DP Ruben Impens (“Titane,” “The Eight Mountains”), giving equal space to both the danger and power of these fierce creatures, and also to their status as victims, subjugated by mankind. Lead actor Amamra, who made a splash at Cannes in 2016 in Houda Benyamina’s “Divines,” navigates a similar dichotomy. Her character has power, of a sort, but also embodies a deep vulnerability. Her power derives partly from the automatic distinction of being the only woman on the scene, giving her a kind of local celebrity. But with that spotlight comes pressure — the perception that if she fails, it’s because she’s a woman, whereas her male counterparts are allowed to fail or succeed as individuals on their own merit. Ultimately, accepting the terms of this environment proves something of a trap for Nejma, who finds herself playing by the rules of the societal microcosm in which she finds herself, rather than reshaping the game. Parallels with the situation of the bulls in the ring are clear.

Popular on Variety

Reviewed at soho screening rooms, london, london, may 3, 2024. in cannes film festival (critics' week). running time: 98 min..

• Production: (France-Belgium-Saudi Arabia) A Film Constellation, Wildbunch Distribution presentation of a June Films production. (World sales: Film Constellation, London.) Producers: Julie Billy, Naomi Denamur, Cassandre Warnauts, Jean-YvesRoubin.
• Crew: Director, screenplay: Emma Benestan. Camera: Ruben Impens. Editor: Clémence Diard. Music: Yan Wagner.
• With: Oulaya Amamra, Damien Rebattel, Vivien Rodriguez, Claude Chaballier, Elies-Morgan, Admi-Bensellam, Pierre Roux. (French dialogue)

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Browse Reviews

The incoherent drama Browse tries to look like a suspenseful horror movie, but there's nothing scary or thrilling about this rambling dud of a film.

Full Review | Jul 30, 2020

A great deal of the movie consists of unfinished ideas, plot points, story threads, and character arcs.

Full Review | Original Score: 2/4 | Jul 22, 2020

It's a thoughtful, curious piece of work which may not quite be successful in finding its destination but which manages to intrigue along the way.

Full Review | Original Score: 2.5/5 | Jul 21, 2020

Skip the film if you need an ending that answers the questions raised throughout. But check it out if you enjoy seeing a psychological thriller that makes you come to your own conclusions.

Full Review | Original Score: 7/10 | Jul 20, 2020

With such a tangled mess of a film it is hard to put your finger on what went wrong in the bringing it to the screen.

Full Review | Original Score: 2/5 | Jul 13, 2020

In a perfect world, this thriller, with its onslaught of stomach-churning "oh no!" moments, would've had a point, something that connected it all together (or at least a conclusion), but it doesn't.

Full Review | Original Score: 2/5 | Jul 12, 2020

An identity theft "nightmare" that fails every attempted thrill and chill. Quite possibly one of the most unimaginative and unmemorable films I've ever seen.

Full Review | Original Score: .5/5 | Jul 10, 2020

An everyman's identify theft -- or is he just a deluded creeper? -- is fitfully explored in this underwhelming psychological thriller.

Full Review | Original Score: 2/5 | Jul 7, 2020

Browse feels like glimpsing through a problematic story with little context as to why you should care let alone watch it.

Full Review | Original Score: 2/10 | Jul 7, 2020

This thriller doesn't thrill. It occasionally amuses, and it rarely makes any real sense.

Full Review | Original Score: 4 | Jul 6, 2020

'Atlas' review: Jennifer Lopez befriends an AI in her scrappy new Netflix space movie

Just when you think you’ve seen everything, here comes a movie where Jennifer Lopez tries to out-sass a computer program.

Jenny from the Block is in her Iron Man era with “Atlas” (★★½ out of four; rated PG-13; streaming now on Netflix ), a sci-fi action thriller directed by Brad Peyton ( “San Andreas” ) that pairs two hot commodities: a pop-culture superstar and artificial intelligence.

The movie shares aspects with a bevy of films like “Blade Runner,” “The Terminator,” "The Iron Giant" and “Pacific Rim,” and it’s best to not think too hard about the science involved. Yet there’s a scrappiness to “Atlas” that pairs well with a human/machine bonding narrative and a fish-out-of-water Lopez trying to figure out how to work a super cool, high-tech armored suit and not die spectacularly.

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But “Atlas” doesn’t have the best start, beginning with the mother of exposition dumps: In the future, AI has evolved to a dangerous degree and a robotic terrorist named Harlan (a charmless Simu Liu) has turned genocidal, wanting to wipe out most of mankind. He’s defeated and retreats into space, vowing to return, and in the ensuing 28 years, counterterrorism analyst Atlas Shepherd – whose mother invented Harlan and made him part of their family before he went bad – has been trying to find him.

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She’s distrustful of Al and also most humans: The antisocial Atlas’ only true love is coffee but she’s also crazy smart, and she figures out the galaxy where Harlan’s hiding. Atlas forces herself on a military space mission run by a no-nonsense colonel (Sterling K. Brown) to track down Harlan, but amid a sneak attack by cyborg bad guys, Atlas has to hop in a mech suit to survive. The caveat: to run the thing, she has to create a neural link with an onboard AI named Smith (voiced by Gregory James Cohan).

Streaming preview: 15 new movies you'll want to watch this summer, from 'Atlas' to 'Beverly Hills Cop 4'

Obviously, there’s a climactic throwdown with Harlan – you don’t need ChatGPT to figure out the predictable plot – and there are plenty of action scenes with spotty visual effects. But “Atlas” cooks most when it’s just Atlas and Smith, sniping and snarking at each other: He fixes her broken leg, her cursing expands his vocabulary, and slowly they figure out a way to coexist and become a formidable fighting unit. 

Lopez does well with the buddy comedy vibe as well as her whole "Atlas" character arc. The fact that she starts as a misanthropic hot mess – even her hair is unruly, though still movie star-ready – makes her an appealing character, one you root for as she becomes besties with a computer and finds herself in mortal danger every five minutes.

While “Atlas” doesn’t top the J. Lo movie canon – that’s rarefied air for the likes of “Out of Sight” and “Hustlers” – it’s certainly more interesting than a lot of her rom-com output . Her action-oriented vehicles such as this and the assassin thriller “The Mother,” plus B-movie “Anaconda” and sci-fi film “The Cell” back in the day, show a willing gameness to venture outside her A-list box.

It also helps when she finds the right dance partner – in this case, a wily AI. And in “Atlas,” that unlikely friendship forgives the bigger glitches.

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• ‘The Most Precious Of Cargoes’ Review: Michel Hazanavicius’ Animated Holocaust Fable Walks A Fine Line – Cannes Film Festival

By Damon Wise

Film Editor, Awards

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Michel Hazanavicius Defends Holocaust Animated Film ‘The Most Precious Of Cargoes’ At Cannes

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Five long years in the making, Hazanavicius’s adaptation of the 2019 novel by Jean-Claude Grumberg arrives in Cannes two years after the death of its narrator, Jean-Louis Trintignant, and, unfortunately, a year after the debut of Jonathan Glazer’s Oscar-winner The Zone of Interest . In terms of technique alone, Glazer’s film is a hard act to follow, and though the two films could not be more different, there are times when those differences raise legitimate questions of taste. Controversy, of course, is nothing new whenever the Holocaust is dramatized — famously, Shoah director Claude Lanzmann even took issue with Steven Spielberg over his handling of the topic in Schindler’s List .

Illustrated crisply and simply, the story opens during a snowy winter in the woods of France, where a poor woodcutter lives with this wife. The rumble of trains fills the air, and the local community knows exactly who’s inside and where they’re being taken: to the concentration camp at Auschwitz. One day, the woodcutter’s wife hears a noise; as one train passes, a baby is thrown into the snow, and she finds it wrapped in blanket, gurgling contentedly. She takes it home, and the woodcutter knows immediately where the infant came from. He wants nothing to do with it, and his threats to get rid of it are chillingly real.

As he knows, Jews aren’t popular with the local community — woodcutters all — who think they are a “heartless” race. “They killed God!” they say. “They are thieves!” The woodcutter believes this too, refusing even to let the child play with his dog, but somehow she gets under his skin. When spring comes round, the woodcutter hears her heartbeat everywhere he goes and starts to argue with the other men of the village as their mob-rule antisemitism reaches a fever pitch. “The heartless have a heart,” he insists, a heresy that will not go unpunished.

Having established the plight of the woodcutter and his wife, the film turns to the baby’s father, showing the desperation that led him to throw his child into the wilderness, and what awaits him at Auschwitz. It’s in these scenes that the film is at its queasiest, chiefly in an uncomfortable montage of grotesque, screaming faces. Glazer used sound exquisitely to convey much better effect, placing Mica Levy’s unsettling score right upfront as a hellish kind of overture. It’s a brief moment, but jarring, and the film wouldn’t lose a beat without it.  

At a brisk 81 minutes, it’s all over very quickly, and it’s to Hazanavicius’s credit that he doesn’t equate length with importance: the power of his film derives very much from its clarity and simplicity. It also makes excellent use of animation to translate Grumberg’s post-modern use of the fairy tale into cinema. In the film, as there was in the book, there’s a self-reflexivity there, one that waves the artificiality of its all-too-unlikely scenario in your face: The Most Precious of Cargoes is a friendly reminder that life is not fiction, and that much more important things can happen that are way further beyond belief.

Title:  The Most Precious of Cargoes Festival:  Cannes (Competition) Director- screenwriter : Michel Hazanavicius Voice cast:   Dominique Blanc , Grégory Gadebois, Denis Podalydès, Jean-Louis Trintignant Distributor:  StudioCanal Running time:  1 hr 21 min

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