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Letterboxd — Your life in film

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Take your first step into a larger world…

Sign in or register to get started. We’re your home for logging, rating and reviewing films, your watchlist of titles to see, your source for lists and inspiration, a cast and crew database and an activity stream of passionate film criticism, discussion and discovery.

How Letterboxd works

Tell us what you’ve seen

Get your Letterboxd underway by visiting our Popular section and marking a few films you’ve seen. Click the ‘eye’ on any film poster to tell us you’ve watched it (add a ‘like’ if you liked it and/or a rating). We add all watched titles to your Films tab and then we can show you reviews containing spoilers (usually hidden) and other cool stuff. If you’re Pro we compute detailed stats based on all your watched films (see below ).

Browse your watched films

Now that you’ve added some films, you can find them in the Films tab of your profile. As you add more content, your profile starts to reflect your taste. You can also browse the films of other members, or the community , with Hide watched films activated to find more great films to watch.

If you’ve previously saved film-related activity at IMDb or another service, we can help you import this, too.

Save films to watch later

One of our most-loved features, the Watchlist , lets you keep a list of films you want to see. Start in Most Anticipated and mark a few films you want to see—use the ‘clock’ on a film or review page, or open the options menu on any poster (shown opposite). If you subsequently log or mark a film as watched, we’ll move it from your Watchlist to your Films (and add it to your Diary , if you provide a date—more on that  below ).

Your account, profile and settings

Click your username (at the top of each page) for shortcuts to the main sections of your account. Your Profile , Films , Diary , Watchlist and other pages are here.

You can customize your name, location, website, bio and favorite films in Settings . We use your X / Twitter avatar if you connect your account, or a Gravatar matching the email on your profile.

Note: your profile (and any other content you publish, with the exception of private lists) is visible to others, and to search engines.

Log a film to tell us you watched it on a particular date, and to attach a review, rating and tags. We put all films you log with a date into your Diary , a great reference for when it comes time to compile your year-end list.

You can rate films without logging them too, either on a film or review page, or from the ‘more options’ menu on a poster.

Try logging a film now…

Following and activity

The best way to find members to follow is by reading reviews of films you like, to identify the voices and opinions you dig. Our Members page lists popular accounts.

As you follow more people, we create a personalized Activity stream full of reviews and recommendations from these members (and you’re bound to find new people to follow from the Likes included here). Use the Incoming tab to see who’s interacting with you, and upgrade to Pro to personalize the types of activity you see on each device.

Make and share lists

Lists are a great way to share a collection of related films, or to rank the films of your favorite genre, star, director or franchise. It’s fun to welcome suggestions for your lists from other members.

Start a list on your Lists tab, then add films on the ‘Edit’ screen (or from the ‘more options’ menu on a poster). The first time you make a list public, it’s shared with your followers.

Upgrade for stats + more!

The more films you log on Letterboxd, the more ways we have to analyze your movie-watching habits. Upgrade to a Pro or Patron account and we’ll generate all-time stats based on every film you’ve added to your profile, and annual stats for each year with at least ten films logged.

Stats include overview by week/year, highest rated decades, most watched and highest rated actors and directors, progress against milestone lists, genre, language and country breakdowns, and lots more.

Here’s what you’ll find in our main sections…

If you’re signed in, you’ll see a selection of popular films, reviews and lists from Letterboxd members. As you follow more people, we personalize this page to show what’s popular in your network.

This section shows which films our members are watching and reviewing the most. It’s also your starting point for browsing the whole database, by decade/year, genre, popularity, rating, streaming service and more.

This section shows our most popular lists, and a selection of recently added content. From here you can create a list of your own, browse more popular lists, or browse by the tags applied to each by its creator.

Here you’ll find others whose content is being enjoyed most by our community. Click through to see if you like their style, or locate your real-life Facebook friends that also use Letterboxd.

More tips and tricks

Film actions

On a film or review page, use these controls to tell us you’ve seen (and liked) the film, and how you rated it. Add it to your Watchlist if you plan to see it later. You can also log the film or add it to a list from here.

Tagging films

Adding tags as you log films lets you easily recall them based on any criteria. Tags can be used to encode how, where or with whom you saw a film, or to categorize films by your own genre or content taxonomy.

Reordering lists

To quickly move a film to another position when editing, show List Numbers, then click the number of the entry to move. Type a new position and hit Return. The film will instantly move to that position.

Upgrade to Pro!

Pro accounts unlock additional capabilities: an all-time Stats page and annual Year in Review pages for each year of activity. Filter your activity view, filter film lists by service availability, clone lists and more!

Next up: complete your profile and add some popular films you’ve seen…

Sign in or create an account to get started.

Then grab our apps and see our questions page for more answers.

Import your films

Free to all members. create your own csv file, or import from another service. we support these imdb exports:.

or see our import format documentation

Discover more films

Here’s a selection of our highest rated narrative feature films. the complete list of 250 is maintained by the tireless dave vis. how many have you seen.

or browse our most popular films

Header image from Star Wars (1977)

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Upgrade to remove ads.

Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account —for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages ( example ), the ability to select (and filter by) your favorite streaming services, and no ads!

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April 19, 2024

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All-Time Lists

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March 10, 2024

Golden Globes Best Picture Winners by Tomatometer

January 7, 2024

200 Best Horror Movies of All Time

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Countdown Guides

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Video Game TV Shows Ranked by Tomatometer

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September 30, 2021

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April 4, 2024

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• 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.

Movie Reviews

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Matt Reeves ’ “The Batman” isn’t a superhero movie. Not really. All the trappings are there: the Batmobile, the rugged suit, the gadgets courtesy of trusty butler Alfred. And of course, at the center, is the Caped Crusader himself: brooding, tormented, seeking his own brand of nighttime justice in a Gotham City that’s spiraling into squalor and decay.

But in Reeves’ confident hands, everything is breathtakingly alive and new. As director and co-writer, he’s taken what might seem like a familiar tale and made it epic, even operatic. His “ Batman ” is more akin to a gritty, ‘70s crime drama than a soaring and transporting blockbuster. With its kinetic, unpredictable action, it calls to mind films like “ The Warriors ” as well as one of the greatest of them all in the genre, “ The French Connection .” And with a series of high-profile murders driving the plot, it sometimes feels as if the Zodiac killer is terrorizing the citizens of Gotham.

And yet, despite these touchstones, this is unmistakably a Matt Reeves film. He accomplishes here what he did with his gripping entries in the “Planet of the Apes” franchise: created an electrifying, entertaining spectacle, but one that’s grounded in real, emotional stakes. This is a Batman movie that’s aware of its own place within pop culture, but not in winking, meta fashion; rather, it acknowledges the comic book character’s lore, only to examine it and reinvent it in a way that’s both substantial and daring. The script from Reeves and Peter Craig forces this hero to question his history as well as confront his purpose, and in doing so, creates an opening for us as viewers to challenge the narratives we cling to in our own lives.

And with Robert Pattinson taking over the role of Bruce Wayne, we have an actor who’s not just prepared but hungry to explore this figure’s weird, dark instincts. This is not the dashing heir to a fortune prowling about, kicking ass in a cool costume. This is Travis Bickle in the Batsuit, detached and disillusioned. He’s two years into his tenure as Batman, tracking criminals from on high in Wayne Tower—an inspired switch from the usual sprawl of Wayne Manor, suggesting an even greater isolation from society. “They think I’m hiding in the shadows,” he intones in an opening voiceover. “But I am the shadows.” In the harsh light of day, Pattinson gives us hungover indie rock star vibes. But at night, you can see the rush he gets from swooping in and executing his version of vengeance, even beneath the tactical gear and eye black.

As he’s shown in pretty much every role he's taken since “Twilight” made him a global superstar in 2008, working with singular auteurs from David Cronenberg to Claire Denis to the Safdie brothers, Pattinson is at his best when he’s playing characters who make you uncomfortable. Even more than Christian Bale in the role, Pattinson is so skilled at making his beautiful, angular features seem unsettling. So when he first spies on the impossibly sexy Zoe Kravitz as Selina Kyle, slinking into her leather motorcycle gear and shimmying down the fire escape in her own pursuit of nocturnal justice, there’s an unmistakable flicker of a charge in his eyes: Ooh. She’s a freak like me.

Pattinson and Kravitz have insane chemistry with each other. She is his match, physically and emotionally, every step of the way. This is no flirty, purring Catwoman: She’s a fighter and a survivor with a loyal heart and a strong sense of what’s right. Following her lead role in Steven Soderbergh ’s high-tech thriller “Kimi,” Kravitz continues to reveal a fierce charisma and quiet strength.

She’s part of a murderer’s row of supporting performers, all of whom get meaty roles to play. Jeffrey Wright is the rare voice of idealism and decency as the eventual Commissioner Gordon. John Turturro is low-key chilling as crime boss Carmine Falcone. Andy Serkis —Caesar in Reeves’ “Apes” movies—brings a paternal wisdom and warmth as Alfred. Colin Farrell is completely unrecognizable as the sleazy, villainous Oswald Cobblepot, better known as The Penguin. And Paul Dano is flat-out terrifying as The Riddler, whose own drive for vengeance provides the story’s spine. He goes to extremes here in a way that’s reminiscent of his startling work in “ There Will Be Blood .” His derangement is so intense, you may find yourself unexpectedly laughing just to break the tension he creates. But there’s nothing amusing about his portrayal; Dano makes you feel as if you’re watching a man who’s truly, deeply disturbed.

This is not to say that “The Batman” is a downer; far from it. Despite the overlong running time of nearly three hours, this is a film that’s consistently viscerally gripping. The coolest Batmobile yet—a muscular vehicle that’s straight out of “ Mad Max: Fury Road ”—figures prominently in one of the movie’s most heart-pounding sequences. It’s an elaborate car chase and chain-reaction crash ending with an upside-down shot of fiery fury that literally had me applauding during my screening. During a fight at a thumping night club, punctuated by pulsating red lights, you can feel every punch and kick. (That’s one of the more compelling elements of seeing this superhero in his early days: He isn’t invincible.) And a shootout in a pitch-black hallway, illuminated only by the blasts of shotgun fire, is both harrowing and dazzling. Greatly magnifying the power of scenes like these is the score from veteran composer Michael Giacchino . Best known for his Pixar movie music, he does something totally different with “The Batman”: percussive and horn-heavy, it is massive and demanding, and you will feel it deep in your core.

Working with artists and craftspeople operating at the top of their game, Reeves has made a movie that manages to be ethereal yet weighty at the same time, substantial yet impressionistic. Cinematographer Greig Fraser pulls off the same sort of stunning magic trick he did with his Oscar-nominated work in Denis Villeneuve ’s “Dune”: Through pouring rain and neon lights, there’s both a gauziness and a heft to his imagery. His use of shadow and silhouette is masterful, and does so much to convey a sense of foreboding and tension. I could write an entire, separate essay on the film’s many uses of the color red to suggest energy, danger, even hope. And the costume design from the great Jacqueline Durran —with Dave Crossman and Glyn Dillon designing Pattinson’s rough-and-tumble Batsuit—put just the right finishing touch on the film’s cool, edgy vibe.

This is the most beautiful Batman movie you’ve ever seen—even if it’s not really a Batman movie at all.

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Film credits.

The Batman (2022)

Rated PG-13 for strong violent and disturbing content, drug content, strong language, and some suggestive material.

176 minutes

Robert Pattinson as Bruce Wayne / Batman

Zoë Kravitz as Selina Kyle

Paul Dano as The Riddler

Jeffrey Wright as Lt. James Gordon

John Turturro as Carmine Falcone

Peter Sarsgaard as District Attorney Gil Colson

Andy Serkis as Alfred Pennyworth

Colin Farrell as Oz / The Penguin

• Matt Reeves

Writer (Batman created by)

• Bill Finger
• Peter Craig

Cinematographer

• Greig Fraser

Costume Designer

• Jacqueline Durran
• William Hoy
• Tyler Nelson
• Michael Giacchino

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‘Abigail’ Review: Horror by Numbers

In this cheerfully unambitious vampire movie, a bloodsucker is shut up in an old mansion with some nitwit criminals. Will there will be gore? You bet.

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By Manohla Dargis

A cheerfully obvious splatterthon, the new horror movie “Abigail” follows a simple, time-tested recipe that calls for a minimal amount of ingredients. Total time: 109 minutes. Take a mysterious child, one suave fixer and six logic-challenged criminals. Place them in an extra-large pot with a few rats, creaking floorboards and ominous shadows. Stir. Simmer and continue stirring, letting the stew come to a near-boil. After an hour, crank the heat until some of the meat falls off the bone and the whole mix turns deep red. Enjoy!

That more or less sums up this movie, a horror flick that’s serviceable enough to make you occasionally giggle or flinch, yet is also so aggressively unambitious that it scarcely seems worth griping about. It centers on the kidnapping of the title character (a fine Alisha Weir), an outwardly self-possessed 12-year-old ballerina who’s snatched one night by a half-dozen genre types. A formulaically diverse cohort of underworld bottom feeders (played by Dan Stevens, among others), these Scooby-Doo-ish chuckleheads come with divergent skills, histories and expiration dates, and are largely tasked with padding the reed-thin story and dying horribly.

The filmmakers — it was written by Stephen Shields and Guy Busick, and directed by Matt Bettinelli-Olpin and Tyler Gillett — have outfitted the story with the usual particulars. Much of the movie unfolds inside a sprawling labyrinthine mansion that looks like it was imagineered by an amusement park designer who scanned some old horror movies while thumbing through picture books on the history of the European aristocracy. There are suits of armor flanking the front door, a bearskin rug on the floor, an empty coffin tucked in a corner and oddly, given the genre circumstances, some fresh garlic in an otherwise derelict kitchen.

There are some tangy bits, including Giancarlo Esposito, who enters, barks some orders and soon leaves the kidnappers alone with Abigail in the mansion while they wait for her father to pay a ransom within 24 hours. Once this narrative stopwatch begins, the crew members — who also include Melissa Barrera, Kathryn Newton, Will Catlett, an amusing Kevin Durand and Angus Cloud (who died in 2023 ) — banter and pose, grimace and scream while managing to be lightly appealing and entirely disposable. At one point, the filmmakers nod at one of their influences with a shot of Agatha Christie’s 1939 mystery novel “ And Then There Were None ,” about a group of people who are enigmatically offed.

“Abigail” has been described as a take on “ Dracula’s Daughter ” (1936), one of the horror films in Universal’s vault, some of which it has resurrected in some fashion. The press notes for “Abigail” name-check a few vampire titles, but “Daughter” isn’t among them, and for good reason because there’s little to link these two. That’s too bad; the earlier film is a true curiosity. It stars Gloria Holden as a countess who preys on men and women alike, and begs a doctor to help her with her “ghastly” condition. With its lesbian overtones, the movie is a vexed and tasty text — censors urged the studio to avoid suggestions of “ perverse sexual desire ” — and the countess a complex villain in a film that is very much worth a look.

Abigail Rated R for gore and more gore. Running time: 1 hour 49 minutes. In theaters.

Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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Universal has struggled to in recent years to bring back its classic horror franchises like Frankenstein, Dracula, The Wolfman, The Mummy, etc., attempts that were perhaps too literal. But thanks to the filmmaking collective known as Radio Silence they have, with Abigail , perhaps stumbled onto a way to keep the party going. In this case it is back to the immortal vampire story to end them all, Dracula, but here the bloodsucking title star is his 12-year-old daughter, not the infamous man himself who is reduced to a mere cameo.

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Not to be confused with killer doll movies like Annabelle, this young girl is such a seemingly innocent budding ballerina it comes as a shock to see her whole-hog transformation into daddy’s little demon later in the film. Alisha Weir , morphing into the most terrifying child since Linda Blair got an Oscar nomination for doing it in 1973’s The Exorcist, is the title star who becomes the victim of a kidnapping plot by a group of badass, but kinda dumb, criminals enlisted by Lambert ( Giancarlo Esposito , in for a couple of scenes), who has been hired to bring them together by an unseen but fearsome crime boss in order to snatch Abigail and demand a $50 million ransom to be paid by her very wealthy father. The job goes relatively easy as they infiltrate the family mansion and steal her away to a deserted, gothic-like house while awaiting payment for the gig. But as they will soon learn this is no ordinary job. “I am so sorry for what is about to happen to you,” Abigail innocently says at one point to one of her clueless kidnappers.

Watching this unfold I kept thinking of Agatha Christie’s endlessly copied and remade And Then There Were None (aka Ten Little Indians ), and sure enough later in the movie the screenwriters, Stephen Shields and Guy Busick, do indeed reference that inspiration quite literally. Any casual moviegoer knows when you gather a group of strangers in a dilapidated mansion, one by one they are going to be goners. It is just a matter of time — and how. After a lot of bickering between them, plus the discovery that Abigail is no ordinary little ballerina, we start to see some imaginative, bloodcurdling sequences, and the movie earns it stripes in the genre; this is definitely hard-R horror. Of course, with Frank leading the resistance, they turn on each other in a bid to survive as Abigail shows she inherited the family genes and talent for sucking the blood out of their misbegotten plans while at the same time niftily shows off her balletic talents in dispensing with this crowd.

Although I have been getting weary of the same old tropes used in so many horror films of late, the endless parade of sequels doing basically the same thing, Abigail is actually a lot of fun, perhaps part of its inspiration coming for a lesser-known 1936 Universal classic, Dracula’s Daughter, but still a completely different storyline than that one. Directors Matt Bettinelli-Olpin and Tyler Gillett (aka Radio Silence), who managed to freshen up the tired Scream franchise over the last two installments and are also responsible for the original Ready Or Not, show a real flair for injecting humor and horror in equal doses into the proceedings and really keep this thing building to the inevitable crescendo required of such a premise. Short of giving this material to a genius like Guillermo del Toro, they do a fine job in bringing it all to life, helped enormously by Brian Tyler’s sensational Grand Guignol-style score.

You can see why Stevens, an otherwise serious actor, might want to take on a gonzo role like Frank as he completely devours it without a worry that too much is, uh, too much. Barrera, who worked with the directors on Scream, shows she also has the chops for this sort of thing. Newton is pure fun, as is Durand who gets some of the best lines. Cloud has the real nutso character but sadly is out of the film much too early, though it’s enough to shows the potential the Euphoria star had for creating some out-there characters. Gone way too soon. The film is dedicated to him.

Producers are William Sherak, James Vanderbilt, Paul Neinstein, Tripp Vinson and Chad Villella (the latter also part of Radio Silence).

Title: Abigail Distributor: Universal Release date: April 19, 2024 Directors: Matt Bettinelli-Olpin and Tyler Gillett Screenwriters: Stephen Shields and Guy Busick Cast: Melissa Barrera, Dan Stevens, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud, Alisha Weir, Giancarlo Esposito, Matthew Goode Rating: R Running time: 1 hr 49 min

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• Cast & crew

Challengers

Tashi, a former tennis prodigy turned coach is married to a champion on a losing streak. Her strategy for her husband's redemption takes a surprising turn when he must face off against his f... Read all Tashi, a former tennis prodigy turned coach is married to a champion on a losing streak. Her strategy for her husband's redemption takes a surprising turn when he must face off against his former best friend and Tashi's former boyfriend. Tashi, a former tennis prodigy turned coach is married to a champion on a losing streak. Her strategy for her husband's redemption takes a surprising turn when he must face off against his former best friend and Tashi's former boyfriend.

• Luca Guadagnino
• Justin Kuritzkes
• Josh O'Connor
• 43 Critic reviews
• 88 Metascore
• 1 nomination

• Tashi Donaldson

• Art Donaldson

• Patrick Zweig
• Umpire (New Rochelle Final)

• Art's Physiotherapist

• Art's Security Guard
• (as a different name)
• Tashi's Mother
• Line Judge (New Rochelle Final)
• TV Sports Commentator (Atlanta 2019)

• Leo Du Marier

• Woman With Headset (Atlanta 2019)

• Motel Front Desk Clerk
• Motel Husband

• New Rochelle Parking Lot Guard
• USTA Official …
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia To prepare for her role, Zendaya spent three months with pro tennis player-turned-coach, Brad Gilbert .
• Connections Referenced in OWV Updates: The Seventh OWV Awards - Last Update of 2022 (2022)
• When will Challengers be released? Powered by Alexa
• April 26, 2024 (United States)
• United States
• Những Kẻ Thách Đấu
• Boston, Massachusetts, USA
• Metro-Goldwyn-Mayer (MGM)
• Pascal Pictures
• See more company credits at IMDbPro

Technical specs

• Runtime 2 hours 11 minutes
• Dolby Digital

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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

More From Forbes

Netflix’s ‘rebel moon part 2: the scargiver’ debuts with snyder’s worst-ever review scores.

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Netflix has thrown so much money and advertising into Zack Snyder’s attempt to craft his own Star Wars universe, and the result is an absolute, utter critical disaster. We know that for sure now that the second film is out, Rebel Moon Part 2: The Scargiver , which as of right now is reviewing worse than Part 1, despite this being when the action was supposed to pick up after the assembling of the main “team” in the first film.

While this number keeps fluctuating, early reviews have Rebel Moon Part 2: The Scargiver somewhere between an 8% and 14% on Rotten Tomatoes . So far this is lower than the first film which had a 21% from 173 critics in the end, and a better, but not good, 57% audience score.

Again, this is not just “critics hate Zack Snyder.” Compared to his overall filmography, these films are uniquely terrible. Here’s the grand list of his live-action projects that demonstrates that:

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• Dawn of the Dead – 76% critics, 77% audience score
• Zack Snyder’s Justice League – 72% critics, 93% audience
• Army of the Dead – 67% critics, 75% audience
• Watchmen – 65% critics, 71% audience
• 300 – 61% critics, 89% audience
• Man of Steel – 56% critics, 75% audience
• Batman V Superman: Dawn of Justice – 29% critics, 63% audience
• Sucker Punch – 22% critics, 47% audience
• Rebel Moon Part 1: A Child of Fire – 21% critics, 57% audience
• Rebel Moon Part 2: The Scargiver - (8-14%) critics, N/A audience

As you can see, critics have actually rated half of Snyder’s movies positively, though with Rebel Moon Part 2 here, that will be 5/10. But if these scores stand, Part 2 will be his lowest rated feature ever. And the first film is his second lowest audience score ever behind only Sucker Punch, a film Snyder has himself said needs “fixing” with a director’s cut, so it’s not just that snooty critics take issue with these movies.

Things are complicated for Rebel Moon as Snyder has seemed to indicate that these two films are the “corporate” PG-13 cuts while his unleashed R-rated cuts coming out this summer are essentially different movies. This entire thing has been a marketing gimmick by him and Netflix but it seems pretty clear they should have just gone with his original take and not neutered it for…why, exactly? Why would they bother? It’s not like they need to be concerned about PG-13 versus R-rated ticket sales. Whatever the case it seems like it was a huge misstep (not that more gore and nudity would necessarily save these films).

Snyder also seems…a bit out of touch with reality when it comes to Rebel Moon, saying recently he believes that he needs four to six Rebel Moon movies to tell the story. After this, it’s not even clear Netflix will allow him a third film. If viewership is there it may not matter what review scores are, but the first film did not break into Netflix’s top 10 original movies list in the end.

After the R-rated cuts, this is probably it for Rebel Moon, which may be for the best.

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Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy .

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