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‘Origin’ Review: The Roots of Our Racism

Ava DuVernay’s new feature film, adapted from the Isabel Wilkerson book “Caste,” turns the journalist into a character who examines oppression.

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By Manohla Dargis

Ava DuVernay’s “Origin” is as audacious as it is ambitious. At its core, it concerns an intellectual argument about history and hierarchies of power, but it’s also about the fraught process of making this argument. It’s a daunting conceit that DuVernay has shaped into an eventful narrative that is, by turns, specific and far-ranging, diagnostic and aspirational. It is a great big swing about taking a great big swing, and while the film is more persuasive as a drama than the argument it relays, few American movies this year reach so high so boldly.

The inspiration for “Origin,” which DuVernay both wrote and directed, is Isabel Wilkerson’s acclaimed, best-selling 2020 book “Caste.” In it, Wilkerson argues that to fully understand the United States and its divisive history, you need to look past race and grasp the role played by caste, which she sees as an artificial and static structural “ranking of human value that sets the presumed supremacy of one group against the presumed inferiority of other groups.” Caste, she writes, separates people — including into racially ranked groups — and keeps them divided. These separations, as the subtitle puts it, are “The Origins of Our Discontents.”

For the film, DuVernay has turned Wilkerson into a dramatic, at times melodramatic character of the same name — a moving Aunjanue Ellis-Taylor — who develops her thesis while traversing history and continents on a journey from inspiration to publication. The movie also includes segments of varying effectiveness that dramatize Wilkerson’s understanding of specific caste systems: One is set in Nazi Germany in the 1930s, another in Depression-era Mississippi and a third in India over different time periods. This last interlude focuses on Dr. Bhimrao Ambedkar (Gaurav J. Pathania), who helped draft India’s Constitution and championed the rights of Dalits, people once deemed “untouchables.”

Isabel’s intellectual quest is bold, sweeping and determinedly personal — a handful of close relatives have decisive roles — and DuVernay’s version of that venture is equally expansive. She gives it tension, tears, visual poetry, shocks of tragedy, moments of grace and many interlocking parts. “Origin” opens in 2012 with a re-enactment of the last night in the life of Trayvon Martin (Myles Frost), the unarmed 17-year-old who was fatally shot by George Zimmerman, a neighborhood watch volunteer. The killing becomes the catalyst for her thesis about caste because, the more she considers it, the more she believes that racism alone can’t explain it. Racism, she says at one point, has become “the default” explanation.

Isabel’s process unfolds rapidly and is framed by her resistance to the default. Her resistance surfaces in a discussion that she has with her husband, Brett (a sympathetic Jon Bernthal), and mother, Ruby (Emily Yancy), as they watch President Obama address Martin’s death on TV. It also informs Isabel’s talks with an acquaintance (Blair Underwood), who early on urges her to write about the case, pushing her to listen to the 911 calls that were made the night Martin was killed. (Wilkerson is a former bureau chief for The New York Times; her first book is “ The Warmth of Other Suns : The Epic Story of America’s Great Migration.”)

Isabel does listen to the 911 calls one quiet evening at home. Steeling herself, she begins the recordings, at which point the scene shifts to the night of the killing; it’s as if she had hit play on a grotesque movie. As DuVernay cuts back and forth between Isabel and that night, you hear George Zimmerman, a largely offscreen presence, talking to a dispatcher as he follows the worried teenager in his car. (“He’s running.”) You also watch as a terrified Martin struggles for his life. DuVernay’s staging here is blunt, visceral and harrowingly intimate. Isabel is shaken and so are you, in part because the 911 calls in the re-enactment are real.

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Common sense media reviewers.

Heartfelt sci-fi has interesting ideas, some language, sex.

A Lot or a Little?

What you will—and won't—find in this movie.

This science-fiction story is fascinated by variou

Though role models aren't the point of this st

A character is sliced in half by a broken elevator

A woman seduces a man and has sex with him on a to

Language isn't frequent but includes more than

Mentos candies are mentioned by name and become a

Adult characters drink alcohol and smoke cigarette

Parents need to know that I Origins is a science-fiction romance that raises some fairly heady spiritual, supernatural, and metaphysical ideas, though it does so in a simple, heartfelt way. A character dies in a fairly gruesome way, and some blood is shown, though much of the gore is kept off screen…

Positive Messages

This science-fiction story is fascinated by various ideas about eyes containing part of the human soul, and, on the other side, the idea that if eyes evolved throughout creation, then it proves the non-existence of God. Though the movie certainly doesn't prove anything one way or another, it could open up some metaphysical, spiritual, and supernatural discussions.

Positive Role Models

Though role models aren't the point of this story, the main character is a scientist driven to find answers, though he still takes time to acknowledge his loved ones. The movie depicts some fairly healthy and strong romantic relationships.

Violence & Scariness

A character is sliced in half by a broken elevator. Most of this takes place off camera, but blood is shown, and a dead body is shown. A character gets formaldehyde splashed in his eyes. A character gets angry and trashes his apartment, throwing furniture and objects around. A character injects himself with a needle.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A woman seduces a man and has sex with him on a toilet; no nudity is shown, and the act is over fairly quickly. Later, they become a couple and are shown kissing and having sex on other occasions. A woman is shown topless. A man masturbates to a video on his computer (the sensitive material is kept below the frame). His girlfriend catches him but asks him not to stop; she wants to know what turns him on. The main character has two partners, but only because the first one passes away.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language isn't frequent but includes more than one use of "f--k," "s--t," "ass," "bitch," and "piss." A middle finger gesture is shown.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Mentos candies are mentioned by name and become a thematic device. Ben & Jerry's "Chunky Monkey" ice cream is shown. Lancome perfume is shown.

Drinking, Drugs & Smoking

Adult characters drink alcohol and smoke cigarettes at a party. The main character smokes several cigarettes. Characters are shown drinking at a bar and drinking beer casually. A lab partner drinks a little too much vodka. He's shown drinking, and another character remarks that he "stinks of vodka."

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that I Origins is a science-fiction romance that raises some fairly heady spiritual, supernatural, and metaphysical ideas, though it does so in a simple, heartfelt way. A character dies in a fairly gruesome way, and some blood is shown, though much of the gore is kept off screen. Formaldehyde is accidentally splashed in a character's eyes, and characters get angry and throw fits. Couples kiss and have sex, and there's a brief scene of female toplessness. Language isn't frequent but does include more than one use of "f--k" and "s--t." A main character smokes cigarettes, and characters drink on several occasions. One supporting character is called on his excessive vodka drinking. Some brand names (Mentos candy, Lancome perfume, etc.) are mentioned and become thematic devices. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (2)

Based on 2 parent reviews

A clever and beautiful movie about reincarnation

Pointless film, what's the story.

Molecular biologist Dr. Ian Gray ( Michael Pitt ), whose hobby is photographing people's eyes, and his new lab partner, Karen ( Brit Marling ), are studying the evolution of the eye. They find an origin species with no eyesight at all, a worm, and start from scratch. Meanwhile, Ian meets his dream girl, Sofi (Astrid Berges-Frisbey). But after he loses her to an accident, his computer database of eyes shows a shocking discovery: Certain eye patterns appear to be re-used, passed on from person to person after death. Ian travels to India to track down the new owner of Sofi's eyes, to see if any part of her soul remained behind. The answer to that question could change everything.

Is It Any Good?

I ORIGINS is a bit too long and repetitive and a little too generous with its eye-related imagery. Director Mike Cahill made his feature debut with Another Earth (2011), which was written by the brilliant, talented Marling. And while she appears here in a supporting actor capacity, it appears that Cahill may do better under more robust guidance from her. Cahill seems to be playing coy with all these eye references, but they aren't subtle enough to really surprise or challenge.

The movie is more romantic than scientific, and it seems eager to accept a supernatural solution when it should place that burden in the audience's hands. Yet, these days, any sci-fi movie with the barest hint of a science-related idea is a welcome rarity. And above all, I ORIGINS is certainly thoughtful and deeply heartfelt, and it could be hard for dreamers and romantics not to get swept up in the love story. For many viewers, it will be a satisfying experience.

Talk to Your Kids About ...

Families can talk about the use of sex in I Origins . How much is there? How does it figure into the story? Does it seem necessary or gratuitous?

Why do these characters drink and smoke so much? Does it seem to interfere with their studies or their lives?

Does the movie seem to believe in science or in the idea of a spiritual/supernatural world? What's the difference? Is it possible for both to exist at the same time?

The symbol of the eye comes up quite frequently in this movie. How many times, and in what ways are eyes referenced? How many ways do you use your eyes -- or the eyes of others -- in real life?

What does "the eyes are the window to the soul" mean?

Movie Details

• In theaters : July 18, 2014
• On DVD or streaming : December 9, 2014
• Cast : Michael Pitt , Brit Marling , Astrid Berges-Frisbey
• Director : Mike Cahill (II)
• Inclusion Information : Female actors
• Studio : Fox Searchlight
• Genre : Science Fiction
• Run time : 113 minutes
• MPAA rating : R
• MPAA explanation : some sexuality/nudity, and language
• Last updated : May 18, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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‘Origin’ Review: Ava DuVernay Links Historical Injustices Together in Sprawling Misfire

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Turning any popular book into a movie is a minefield. Being too faithful can result in an overstuffed mess. Too unfaithful, you risk alienating a built-in fandom. But even greater consideration has to be given when adapting a nonfiction book into a narrative film . In cases like “Nomadland,” “Capote,” and the upcoming “Killers of the Flower Moon,” filmmakers toed that line by showing us their books’ factual cores through the eyes of dramatic protagonists.

The best thing that can be said about “Origin” — beyond the undeniable fact that it’s competently made — is that it really does make you want to read the book. Wilkerson research into the anthropological rot that links enslavement and segregation in America to the plight of the Dalits in India and the Holocaust is fascinating in the parallels it draws between what could otherwise be regarded as disparate acts of societal evil. But fails to offer sufficient nuance, speeding through to the moment where she finally lays out the eight core “pillars” of the argument without clear distinction. It seems an obvious criticism to say that a nonfiction book would have been better suited for adaptation to a documentary. But just like in her befuddlingly saccharine sitcom about Colin Kaepernick’s formative years , the filmmaker has competence of craft but a bizarre handle on concept. “Origin” messily draws a series of disparate threads that range from inoffensive to inane to inexcusable.

Following Martin’s murder, Pulitzer Prize-winning Wilkerson (Aunjanue Ellis-Taylor) is pursued by editors and publishers to write about racism in America. But she is also struggling with putting her mother into an assisted living facility, despite her mother’s wishes to go there. She’s backed up by her cousin, played by the always charming Niecy Nash-Betts, and her dashing husband Jon Bernthal, embodying the platonic ideal of white allyship. But following a series of unfortunate events, she finds herself spiraling through grief. The traumatic experience convinces her that she can see a connection between seemingly unconnected events, and she spends the film speaking to experts who can reframe and attribute these atrocities to “caste” rather than the blanket of racism.

Despite Ellis-Taylor’s best efforts, there’s never much of a sense of who our central protagonist is, what truly motivates her, or even where her expertise lies. At one moment, she seems open to new information and ideas, at others, she is determined to prove only she comprehends human behaviour. She’s sometimes presented as a brilliant scholar, yet at others, she seems woefully ill-informed and, puzzlingly, occasionally seems taken aback by subjects we’ve previously seen her deliver lectures on.

DuVernay’s film is unable to fuse melodrama and academia into a single narrative, even with such rich source material and as fascinating a subject as Isabel Wilkerson. The only possible conclusion it invites is every film critic’s least favorite sentence: Just read the book.

“Origin” premiered at the 2023 Venice Film Festival. It will be released by Neon in the U.S later this year.

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Ava DuVernay’s ‘Origin’ Is Emotionally Devastating and Complex

The film not only explores the personal journey of Isabel Wilkerson but also takes a deeper dive into the topic of ‘Caste’ and its global connections.

Aunjanue Ellis-Taylor as Isabel Wilkerson in director Ava DuVernay's 'Origin.' Photo: Neon.

Expanding to wide release in theaters on January 19th is the latest entry from writer/director Ava DuVernay (‘ Selma ,’ ‘ A Wrinkle In Time ’) entitled ' Origin ,' which examines Isabel Wilkerson ’s book ‘Caste: The Origins of Our Discontent’ and the author’s journey to find the connection between the Nazi’s persecution of the Jewish people, racism in America, and the caste system in India.

Related Article: Director Ava DuVernay and Actress Aunjanue Ellis-Taylor Talk 'Origin'

Initial thoughts.

Ava DuVernay has a way of retelling true life events in such a way that makes it feel raw and visceral, putting the audience in that exact moment in time. From seeing Isabel Wilkerson’s personal life - her losses and grief, her journey of finding the connection between the persecution of Jews, the caste system in India, and racism in America, and finally publishing her book.

DuVernay’s take on telling the story of Wilkerson and ‘Caste’ is thought provoking and complex. The movie’s structure is quite interesting, starting off in a bio-pic style drama with Wilkerson’s personal life and what eventually motivates her to pen ‘Caste,’ and then taking on an expositionary style as Wilkerson breaks down the main points and topics of her book, utilizing extended flashback scenes in history.

At times, it feels like there are three movies playing at once, but in the end, it all connects beautifully.

Story and Direction

(Center) Ava DuVernay on the set of 'Origin.' Photo: Neon.

‘Origin’ is written and directed by Ava DuVernay. It explores Pulitzer Prize-winning author Isabel Wilkerson and her deeply personal journey as she begins writing her book ‘Caste: The Origins of Our Discontents’

The movie is a blend of a drama and narrative essay, with the first act focusing on Isabel Wilkerson’s ( Aunjanue Ellis-Taylor ) personal life. Setting up the background of her work as a writer, and gives the audience an inside look at her family life with her husband Brett ( Jon Bernthal ), her mother Ruby ( Emily Yancy ), and her cousin Marion ( Niecy Nash ).

Shortly after the fatal shooting of Trayvon Martin, Isabel’s editor Amari Selvan ( Blair Underwood ) implores her to do a story on his case and asks her to look into the 911 call that was released. Reluctant at first, Isabel ends up listening to the 911 call, realizing there’s more to the story than just the killing of a Black teenager due to racism. In searching for something deeper, Isabel sets off on a global journey to find the connection between racism in America, the Holocaust, and the social hierarchy in India.

Ava DuVernay's 'Origin.' Photo: Neon.

Throughout Isabel’s research, there are extended scenes flashing back to that exact moment in time - a German man falling in love with a Jewish woman and then forced apart by the Nazis, the Jim Crow era in America, and the treatment of Dalits in India.

The pacing of this movie is at times uneven and may have to do with going back and forth between seeing Isabel’s family life to extended re-enactment scenes that reflect a certain point in history or a topic in Wilkerson’s research. However, this does not discount the importance of each flashback scene, as they give more color to Isabel’s research.

Performances

(L to R) Jon Bernthal as Brett Hamilton and Aunjanue Ellis-Taylor as Isabel Wilkerson in director Ava DuVernay's 'Origin.' Photo: Neon.

Aunjanue Ellis-Taylor (‘ The Color Purple ,’ ‘ King Richard ’) as Isabel Wilkerson was the perfect choice. She played each emotion and reaction - big or small - with such nuance and authenticity. Watching Isabel’s life slowly fall apart throughout the movie as she suffers the loss of family members and Ellis-Taylor’s heartbreaking performance in those moments will surely stir up the emotions of the audience.

Alongside Ellis-Taylor, co-stars Jon Bernthal, Niecy Nash, Emily Yancy, and Audra McDonald also delivered stellar performances despite their brief screen time.

Final Thoughts

DuVernay’s ambitious film carries a very important message and will certainly start conversations on the topic of racism and social hierarchy. While the structure of the film is unconventional and uneven at times, it does its best to present Isabel’s journey of research, every historical event, and its outcome. Everything does come together beautifully in the end.

‘Origin’’ receives 7 out of 10 stars.

What is the plot of ‘Origin’?

Grappling with tremendous personal tragedy, writer Isabel Wilkerson (Aunjanue Ellis-Taylor) sets herself on a path of global investigation and discovery as she writes ‘Caste: The Origins of Our Discontents.’

Who is in the cast of ‘Origin’?

• Aunjanue Ellis-Taylor as Isabel Wilkerson
• Jon Bernthal as Brett Hamilton
• Niecy Nash-Betts as Marion Wilkerson
• Emily Yancy as Ruby Wilkerson
• Finn Wittrock as August Landmesser
• Victoria Pedretti as Irma Eckler
• Jasmine Cephas Jones as Elizabeth Davis
• Vera Farmiga as Kate
• Audra McDonald as Miss Hale
• Connie Nielsen as Sabine
• Blair Underwood as Amari Selvan
• Nick Offerman as Dave the Plumber

Other Ava DuVernay Movies:

• ' This Is the Life ' (2008)
• ' I Will Follow ' (2010)
• ' Middle of Nowhere ' (2012)
• ' Selma ' (2002)
• ' 13th ' (2016)
• ' A Wrinkle in Time ' (2018)

Buy Tickets: 'Origins' Movie Showtimes

Buy ava duvernay movies on amazon.

Wendy Lee was born and raised in Taiwan. She later moved to Florida for school and eventually made her way to Los Angeles to pursue a career in entertainment. She's an actor, host, and content creator. She has appeared on Collider Movie News, Rotten Tomatoes Is Wrong Podcast, Focus Feature's You Know That Scene, Nerdist News Talks Back, and more. She runs the YouTube channel The Movie Couple covering movie and entertainment news, movie and tv show reviews, and more.

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Movie Reviews

'i origins': there's more than one 'i' in 'ridiculous'.

Mark Jenkins

In I Origins , Michael Pitt (left) plays a molecular biologist who becomes emotionally and philosophically entranced by free-spirited "Sofi" (Astrid Bergès-Frisbey) and her speckled eyes. Courtesy of Fox Searchlight Pictures hide caption

In I Origins , Michael Pitt (left) plays a molecular biologist who becomes emotionally and philosophically entranced by free-spirited "Sofi" (Astrid Bergès-Frisbey) and her speckled eyes.

The eyes at the center of the film are sectoral heterochromic — a rare genetic condition that causes the irises to have multiple colors. Courtesy of Fox Searchlight Pictures hide caption

The eyes at the center of the film are sectoral heterochromic — a rare genetic condition that causes the irises to have multiple colors.

Viewers of earnest sci-fi dramas like I Origins are required to suspend disbelief, but the scripters of such movies have responsibilities, too. They can't introduce ideas so ridiculous, or suddenly twist their premises so illogically, that audiences are fatally distracted.

Take, for example, Snowpiercer , set on a frozen future Earth. While a home nestled in the warm bedrock would be the logical place to wait out an ice age, let's accept that the few surviving humans are instead circling the globe on a "high-speed" train. But then the filmmakers throw in the notion that it takes a year to make a complete circuit. That means, if the train is tracing the Earth's widest circumference, it's moving a little under 3 MPH. A snowpiercing bicycle could beat that.

In Dawn of the Planet of the Apes , great care is taken to show that the CGI apes follow genuine simian psychology. So when one chimp challenges another, the two fight for dominance. But then the loser skulks off and does what he wanted to do anyway, which negates the whole setup.

Writer-director Mike Cahill's I Origins is even more cavalier about its own ground rules, although not until its second hour. In the first part, bio-researcher Ian (Michael Pitt) tries to disprove Intelligent Design proponents' claim that the human eye is too complex to be a result of evolution. So he tinkers with the genes of blind worms, hoping to demonstrate how easy it is to give the critters sight.

Always obsessed with eyes, Ian has taken many photos of complexly colored and patterned irises. Naturally, when he encounters the Latin-French beauty who will seduce him from his lab-rat lifestyle, she's wearing a mask, so just her eyes are visible. Sofi (Astrid Berges-Frisbey) is drawn to Ian as well, but their encounter is fleeting.

How to find her? Of course she's a model whose eyes are displayed on a billboard, to which Ian's own peepers are drawn by the lucky number "11," which is sort of "ii." (Puns are the movie's essential logic.)

Ian and Sofi relocate temporarily to an European art film and enjoy a half-dressed idyll, sensuously shot by cinematographer Markus Forderer. They're almost perfect together, and this section of the film is a pleasant tumble of gently erotic images. But he's a scientist and she's a mystic, which might seem to be the conflict that will animate the movie's second half.

A closer look, however, reveals trouble right at the lab. Her name is Karen, and she's dedicated, brilliant and utterly rational — the first assistant Ian has ever taken seriously. Yes, it's Brit Marling in another one of her too-good-to-be-true roles.

Marling didn't co-write I Origins , as she did the equally solemn and nutty Another Earth , the previous feature by Cahill, her Georgetown University classmate. But she plays the figure who will, coolly and methodically, lead the movie from science-y fiction into barking-mad nonsense, complete with an after-the-credits scene set in Crazytown.

It turns out that "I" not just rhymes with "eye," but also indicates the eternal identity some call the soul. For the story's conclusion, Sofi exits, Karen moves in and Ian eventually goes to India, home of an actual national iris-recognition ID program that may have inspired the film. It's also a place, by the way, where a lot of people believe in reincarnation.

If the film's plot is loonier than a mainstream movie would dare, the essential trajectory is one of Hollywood's favorites: from skepticism to faith. There's a "i" in "believe," which is just the sort of empty happenstance I Origins tries to spin into a mind-blowing epiphany.

Rotten Tomatoes, explained

Does a movie’s Rotten Tomatoes score affect its box office returns? And six other questions, answered.

by Alissa Wilkinson

In February 2016, Rotten Tomatoes — the site that aggregates movie and TV critics’ opinions and tabulates a score that’s “fresh” or “rotten” — took on an elevated level of importance. That’s when Rotten Tomatoes (along with its parent company Flixster) was acquired by Fandango , the website that sells advance movie tickets for many major cinema chains.

People had been using Rotten Tomatoes to find movie reviews since it launched in 2000, but after Fandango acquired the site, it began posting “Tomatometer” scores next to movie ticket listings. Since then, studio execs have started to feel as if Rotten Tomatoes matters more than it used to — and in some cases, they’ve rejiggered their marketing strategies accordingly.

It’s easy to see why anyone might assume that Rotten Tomatoes scores became more tightly linked to ticket sales, with potential audiences more likely to buy tickets for a movie with a higher score, and by extension, giving critics more power over the purchase of a ticket.

But that’s not the whole story. And as most movie critics (including myself) will tell you, the correlation between Rotten Tomatoes scores, critical opinion, marketing tactics, and actual box office returns is complicated. It’s not a simple cause-and-effect situation.

My own work is included in both Rotten Tomatoes’ score and that of its more exclusive cousin, Metacritic . So I, along with many other critics , think often of the upsides and pitfalls of aggregating critical opinion and its effect on which movies people see. But for the casual moviegoer, how review aggregators work, what they measure, and how they affect ticket sales can be mysterious.

So when I got curious about how people perceive Rotten Tomatoes and its effect on ticket sales, I did what any self-respecting film critic does: I informally polled my Twitter followers to see what they wanted to know.

Here are seven questions that many people have about Rotten Tomatoes, and review aggregation more generally — and some facts to clear up the confusion.

How is a Rotten Tomatoes score calculated?

The score that Rotten Tomatoes assigns to a film corresponds to the percentage of critics who’ve judged the film to be “fresh,” meaning their opinion of it is more positive than negative. The idea is to quickly offer moviegoers a sense of critical consensus.

“Our goal is to serve fans by giving them useful tools and one-stop access to critic reviews, user ratings, and entertainment news to help with their entertainment viewing decisions,” Jeff Voris, a vice president at Rotten Tomatoes, told me in an email.

The opinions of about 3,000 critics — a.k.a. the “Approved Tomatometer Critics” who have met a series of criteria set by Rotten Tomatoes — are included in the site’s scores, though not every critic reviews every film, so any given score is more typically derived from a few hundred critics, or even less. The scores don’t include just anyone who calls themselves a critic or has a movie blog; Rotten Tomatoes only aggregates critics who have been regularly publishing movie reviews with a reasonably widely read outlet for at least two years, and those critics must be “active,” meaning they've published at least one review in the last year. The site also deems a subset of critics to be “top critics” and calculates a separate score that only includes them.

Some critics (or staffers at their publications) upload their own reviews, choose their own pull quotes, and designate their review as “fresh” or “rotten.” Other critics (including myself) have their reviews uploaded, pull-quoted, and tagged as fresh or rotten by the Rotten Tomatoes staff. In the second case, if the staff isn't sure whether to tag a review as fresh or rotten, they reach out to the critic for clarification. And critics who don't agree with the site’s designation can request that it be changed.

As the reviews of a given film accumulate, the Rotten Tomatoes score measures the percentage that are more positive than negative, and assigns an overall fresh or rotten rating to the movie. Scores of over 60 percent are considered fresh, and scores of 59 percent and under are rotten. To earn the coveted “designated fresh” seal, a film needs at least 40 reviews, 75 percent of which are fresh, and five of which are from “top” critics.

What does a Rotten Tomatoes score really mean ?

A Rotten Tomatoes score represents the percentage of critics who felt mildly to wildly positively about a given film.

If I give a film a mixed review that’s generally positive (which, in Vox’s rating system, could range from a positive-skewing 3 to the rare totally enamored 5), that review receives the same weight as an all-out rave from another critic. (When I give a movie a 2.5, I consider that to be a neutral score; by Rotten Tomatoes' reckoning, it's rotten.) Theoretically, a 100 percent Rotten Tomatoes rating could be made up entirely of middling-to-positive reviews. And if half of the critics the site aggregates only sort of like a movie, and the other half sort of dislike it, the film will hover around 50 percent (which is considered “rotten” by the site).

Contrary to some people’s perceptions, Rotten Tomatoes itself maintains no opinion about a film. What Rotten Tomatoes tries to gauge is critical consensus.

• Why people are freaking out over Wonder Woman’s stellar Rotten Tomatoes score

Critics’ opinions do tend to cluster on most films. But there are always outliers, whether from contrarians (who sometimes seem to figure out what people will say and then take the opposite opinion), or from those who seem to love every film. And critics, like everyone, have various life experiences, aesthetic preferences, and points of view that lead them to have differing opinions on movies.

So in many (if not most) cases, a film’s Rotten Tomatoes score may not correspond to any one critic’s view. It’s more like an imprecise estimate of what would happen if you mashed together every Tomatometer critic and had the resulting super-critic flash a thumbs-up or thumbs-down.

Rotten Tomatoes also lets audiences rate movies, and the score is often out of step with the critical score. Sometimes, the difference is extremely significant, a fact that's noticeable because the site lists the two scores side by side.

There’s a straightforward reason the two rarely match, though: The critical score is more controlled and methodical.

Why? Most professional critics have to see and review many films, whether or not they’re inclined to like the movie. (Also, most critics don’t pay to see films, because studios hold special early screenings for them ahead of the release date, which removes the decision of whether they’re interested enough in a film to spend their hard-earned money on seeing it.)

But with Rotten Tomatoes’ audience score, the situation is different. Anyone on the internet can contribute — not just those who actually saw the film. As a result, a film’s Rotten Tomatoes score can be gamed by internet trolls seeking to sink it simply because they find its concept offensive. A concerted effort can drive down the film’s audience score before it even comes out, as was the case with the all-female reboot of Ghostbusters .

Even if Rotten Tomatoes required people to pass a quiz on the movie before they rated it, the score would still be somewhat unreliable. Why? Because ordinary audiences are more inclined to buy tickets to movies they’re predisposed to like — who wants to spend $12 to $20 on a film they’re pretty sure they’ll hate?

So audience scores at Rotten Tomatoes (and other audience-driven scores, like the ones at IMDb) naturally skew very positive, or sometimes very negative if there’s any sort of smear campaign in play. There’s nothing inherently wrong with that. But audience scores tend to not account for those who would never buy a ticket to the movie in the first place.

In contrast, since critics see lots of movies — some of which they would have gone to see anyhow, and some of which they would’ve never chosen to see if their editors didn’t make the assignment — their opinion distribution should theoretically be more even, and thus the critical Rotten Tomatoes score more “accurate.”

Or at least that’s what Rotten Tomatoes thinks. The site displays a movie’s critics’ scores — the official Tomatometer — at Fandango and in a more prominent spot on the movie’s Rotten Tomatoes landing page. The audience score is also displayed on the Rotten Tomatoes page, but it’s not factored into the film’s fresh or rotten rating, and doesn’t contribute to a film being labeled as “certified fresh.”

Why do critics often get frustrated by the Tomatometer?

The biggest reason many critics find Rotten Tomatoes frustrating is that most people’s opinions about movies can’t be boiled down to a simple thumbs up or down. And most critics feel that Rotten Tomatoes, in particular, oversimplifies criticism, to the detriment of critics, the audience, and the movies themselves.

In some cases, a film really is almost universally considered to be excellent, or to be a complete catastrophe. But critics usually come away from a movie with a mixed view. Some things work, and others don’t. The actors are great, but the screenplay is lacking. The filmmaking is subpar, but the story is imaginative. Some critics use a four- or five-star rating, sometimes with half-stars included, to help quantify mixed opinions as mostly negative or mostly positive.

The important point here is that no critic who takes their job seriously is going to have a simple yes-or-no system for most movies. Critics watch a film, think about it, and write a review that doesn't just judge the movie but analyzes, contextualizes, and ruminates over it. The fear among many critics (including myself) is that people who rely largely on Rotten Tomatoes aren't interested in the nuances of a film, and aren't particularly interested in reading criticism, either.

But maybe the bigger reason critics are worried about the influence of review aggregators is that they seem to imply there's a “right” way to evaluate a movie, based on most people's opinions. We worry that audience members who have different reactions will feel as if their opinion is somehow wrong, rather than seeing the diversity of opinions as an invitation to read and understand how and why people react to art differently.

Plenty of movies — from Psycho to Fight Club to Alien — would have earned a rotten rating from Rotten Tomatoes upon their original release, only to be reconsidered and deemed classics years later as tastes, preferences, and ideas about films changed. Sometimes being an outlier can just mean you're forward-thinking.

Voris, the Rotten Tomatoes vice president, told me that the site is always trying to grapple with this quandary. “The Rotten Tomatoes curation team is constantly adding and updating reviews for films — both past and present,” he told me. “If there’s a review available from an approved critic or outlet, it will be added.”

What critics are worried about is a tendency toward groupthink, and toward scapegoating people who deviate from the “accepted” analysis. You can easily see this in the hordes of fans that sometimes come after a critic who dares to “ruin” a film's perfect score . But critics (at least serious ones) don't write their reviews to fit the Tomatometer, nor are they out to “get” DC Comics movies or religious movies or political movies or any other movies. Critics love movies and want them to be good, and we try to be honest when we see one that we don't measures up.

That doesn't mean the audience can't like a movie with a rotten rating, or hate a movie with a fresh rating. It's no insult to critics when audience opinion diverges. In fact, it makes talking and thinking about movies more interesting.

If critics are ambivalent about Rotten Tomatoes scores, why do moviegoers use the scores to decide whether to see a movie?

Mainly, it’s easy. You’re buying movie tickets on Fandango, or you’re trying to figure out what to watch on Netflix, so you check the Rotten Tomatoes score to decide. It’s simple. That’s the point.

And that’s not a bad thing. It's helpful to get a quick sense of critical consensus, even if it's somewhat imprecise. Many people use Rotten Tomatoes to get a rough idea of whether critics generally liked a film.

The flip side, though, is that some people, whether they’re critics or audience members, will inevitably have opinions that don't track with the Rotten Tomatoes score at all. Just because an individual's opinion is out of step with the Tomatometer doesn't mean the person is “wrong” — it just means they're an outlier.

And that, frankly, is what makes art, entertainment, and the world at large interesting: Not everyone has the same opinion about everything, because people are not exact replicas of one another. Most critics love arguing about movies, because they often find that disagreeing with their colleagues is what makes their job fun. It's fine to disagree with others about a movie, and it doesn't mean you're “wrong.”

(For what it’s worth, another review aggregation site, Metacritic, maintains an even smaller and more exclusive group of critics than Rotten Tomatoes — its aggregated scores cap out around 50 reviews per movie, instead of the hundreds that can make up a Tomatometer score. Metacritic’s score for a film is different from Rotten Tomatoes’ insofar as each individual review is assigned a rating on a scale of 100 and the overall Metacritic score is a weighted average, the mechanics of which Metacritic absolutely refuses to divulge . But because the site’s ratings are even more carefully controlled to include only experienced professional critics — and because the reviews it aggregates are given a higher level of granularity, and presumably weighted by the perceived influence of the critic’s publication — most critics consider Metacritic a better gauge of critical opinion.)

Does a movie’s Rotten Tomatoes score affect its box office earnings?

The short version: It can, but not necessarily in the ways you might think.

A good Rotten Tomatoes score indicates strong critical consensus, and that can be good for smaller films in particular. It’s common for distributors to roll out such films slowly, opening them in a few key cities (usually New York and Los Angeles, and maybe a few others) to generate good buzz — not just from critics, but also on social media and through word of mouth. The result, they hope, is increased interest and ticket sales when the movie opens in other cities.

Get Out , for example, certainly profited from the 99 percent “fresh” score it earned since its limited opening. And the more recent The Big Sick became one of last summer's most beloved films, helped along by its 98 percent rating. But a bad score for a small film can help ensure that it will close quickly, or play in fewer cities overall. Its potential box office earnings, in turn, will inevitably take a hit.

Yet when it comes to blockbusters, franchises, and other big studio films (which usually open in many cities at once), it’s much less clear how much a film’s Rotten Tomatoes score affects its box office tally. A good Rotten Tomatoes score, for example, doesn't necessarily guarantee a film will be a hit. Atomic Blonde is “guaranteed fresh,” with a 77 percent rating, but it didn‘t do very well at the box office despite being an action film starring Charlize Theron.

Still, studios certainly seem to believe the score makes a difference . Last summer, studios blamed Rotten Tomatoes scores (and by extension, critics) when poorly reviewed movies like Pirates of the Caribbean: Dead Men Tell No Tales , Baywatch , and The Mummy performed below expectations at the box office. ( Pirates still went on to be the year’s 19th highest-grossing film.)

2017’s highest grossing movies in the US

But that correlation doesn’t really hold up. The Emoji Movie , for example, was critically panned, garnering an abysmal 6 percent Rotten Tomatoes score. But it still opened to $25 million in the US, which put it just behind the acclaimed Christopher Nolan film Dunkirk . And the more you think about it, the less surprising it is that plenty of people bought tickets to The Emoji Movie in spite of its bad press: It's an animated movie aimed at children that faced virtually no theatrical competition, and it opened during the summer, when kids are out of school. Great reviews might have inflated its numbers, but almost universally negative ones didn't seem to hurt it much.

It's also worth noting that many films with low Rotten Tomatoes scores that also perform poorly in the US (like The Mummy or The Great Wall ) do just fine overseas, particularly in China. The Mummy gave Tom Cruise his biggest global opening ever . If there is a Rotten Tomatoes effect, it seems to only extend to the American market.

Without any consistent proof, why do people still maintain that a bad Rotten Tomatoes score actively hurts a movie at the box office?

While it’s clear that a film’s Rotten Tomatoes score and box office earnings aren't correlated as strongly as movie studios might like you to think, blaming bad ticket sales on critics is low-hanging fruit.

Plenty of people would like you to believe that the weak link between box office earnings and critical opinion proves that critics are at fault for not liking the film, and that audiences are a better gauge of its quality. Dwayne “The Rock” Johnson, co-star of Baywatch , certainly took that position when reviews of the 2017 bomb Baywatch came out:

Baywatch ended up with a very comfortably rotten 19 percent Tomatometer score , compared to a just barely fresh 62 percent audience score. But with apologies to The Rock, who I’m sure is a very nice man, critics aren't weather forecasters or pundits, and they’re not particularly interested in predicting how audiences will respond to a movie. (We are also a rather reserved and nerdy bunch, not regularly armed with venom and knives.) Critics show up where they’re told to show up and watch a film, then go home and evaluate it to the best of their abilities.

The obvious rejoinder, at least from a critic’s point of view, is that if Baywatch was a better movie, there wouldn’t be such a disconnect. But somehow, I suspect that younger ticket buyers — an all-important demographic — lacked nostalgia for 25-year-old lifeguard TV show, and thus weren't so sure about seeing Baywatch in the first place. Likewise, I doubt that a majority of Americans were ever going to be terribly interested in the fifth installment of the Pirates of the Caribbean franchise (which notched a 30 percent Tomatometer score and a 64 percent audience score), especially when they could just watch some other movie.

A pile-up of raves for either of these films might have resulted in stronger sales, because people could have been surprised to learn that a film they didn’t think they were interested in was actually great. But with lackluster reviews, the average moviegoer just had no reason to give them a chance.

Big studio publicists, however, are paid to convince people to see their films, not to candidly discuss the quality of the films themselves. So when a film with bad reviews flops at the box office, it’s not shocking that studios are quick to suggest that critics killed it.

How do movie studios try to blunt the perceived impact when they’re expecting a bad Rotten Tomatoes score?

Of late, some studios — prompted by the idea that critics can kill a film’s buzz before it even comes out — have taken to “ fighting back ” when they’re expecting a rotten Tomatometer score.

Their biggest strategy isn’t super obvious to the average moviegoer, but very clear to critics. When a studio suspects it has a lemon on its hands, it typically hosts the press screening only a day or two ahead of the film's release, and then sets a review “embargo” that lifts a few hours before the film hits theaters.

Consider, for example, the case of the aforementioned Emoji Movie. I and most other critics hoped the movie would be good, as is the case with all movies see. But once the screening invitations arrived in our inboxes, we pretty much knew, with a sinking feeling, that it wouldn’t be. The tell was pretty straightforward: The film’s only critics' screening in New York was scheduled for the day before it opened. It screened for press on Wednesday night at 5 pm, and then the review embargo lifted at 3 pm the next day — mere hours before the first public showtimes.

Late critics’ screenings for any given film mean that reviews of the film will necessarily come out very close to its release, and as a result, people purchasing advance tickets might buy them before there are any reviews or Tomatometer score to speak of. Thus, in spite of there being no strong correlation between negative reviews and a low box office, its first-weekend box returns might be less susceptible to any potential harm as a result of bad press. (Such close timing can also backfire; critics liked this summer's Captain Underpants , for example, but the film was screened too late for the positive reviews to measurably boost its opening box office.)

That first-weekend number is important, because if a movie is the top performer at the box office (or if it simply exceeds expectations, like Dunkirk and Wonder Woman did this summer), its success can function as good advertising for the film, which means its second weekend sales may also be stronger. And that matters , particularly when it means a movie is outperforming its expectations, because it can actually shift the way industry executives think about what kinds of movies people want to watch. Studios do keep an eye on critics’ opinions, but they’re much more interested in ticket sales — which makes it easy to see why they don’t want risk having their opening weekend box office affected by bad reviews, whether there’s a proven correlation or not.

The downside of this strategy, however, is that it encourages critics to instinctively gauge a studio’s level of confidence in a film based on when the press screening takes place. 20th Century Fox, for instance, screened War for the Planet of the Apes weeks ahead of its theatrical release, and lifted the review embargo with plenty of time to spare before the movie came out. The implication was that Fox believed the movie would be a critical success, and indeed, it was — the movie has a 97 percent Tomatometer score and an 86 percent audience score.

And still, late press screenings fail to account for the fact that, while a low Rotten Tomatoes score doesn’t necessarily hurt a film’s total returns, aggregate review scores in general do have a distinct effect on second-weekend sales. In 2016, Metacritic conducted a study of the correlation between its scores and second weekend sales , and found — not surprisingly — that well-reviewed movies dip much less in the second weekend than poorly reviewed movies. This is particularly true of movies with a strong built-in fan base, like Batman v Superman: Dawn of Justice , which enjoyed inflated box office returns in the first weekend because fans came out to see it, but dropped sharply in its second weekend, at least partly due to extremely negative press .

Most critics who are serious about their work make a good-faith effort to approach each film they see with as few expectations as possible. But it's hard to have much hope about a movie when it seems obvious that a studio is trying to play keep-away with it. And the more studios try to game the system by withholding their films from critics, the less critics are inclined to enter a screening devoid of expectations, however subconscious.

If you ask critics what studios ought to do to minimize the potential impact of a low Rotten Tomatoes score, their answer is simple: Make better movies. But of course, it’s not that easy; some movies with bad scores do well, while some with good scores still flop. Hiding a film from critics might artificially inflate first-weekend box office returns, but plenty of people are going to go see a franchise film, or a superhero movie, or a family movie, no matter what critics say.

The truth is that neither Rotten Tomatoes nor the critics whose evaluations make up its scores are really at fault here, and it’s silly to act like that’s the case. The website is just one piece of the sprawling and often bewildering film landscape.

As box office analyst Scott Mendelson wrote at Forbes :

[Rotten Tomatoes] is an aggregate website, one with increased power because the media now uses the fresh ranking as a catch-all for critical consensus, with said percentage score popping up when you buy tickets from Fandango or rent the title on Google Market. But it is not magic. At worst, the increased visibility of the site is being used as an excuse by ever-pickier moviegoers to stay in with Netflix or VOD.

For audience members who want to make good moviegoing decisions, the best approach is a two-pronged one. First, check Rotten Tomatoes and Metacritic to get a sense of critical consensus. But second, find a few critics — two or three will do — whose taste aligns with (or challenges) your own, and whose insights help you enjoy a movie even more. Read them and rely on them.

And know that it’s okay to form your own opinions, too. After all, in the bigger sense, everyone’s a critic.

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Review: 'Origin' is an emotional powerhouse that you'll be talking about for years

"Origin," the latest gift of essential filmmaking from director-producer-writer Ava DuVernay, goes into wide release in theaters today. Don't pass it by, as some have, maybe thinking that DuVernay's take on Isabel Wilkerson's 2020 nonfiction bestseller, "Caste: The Origins of Our Discontents," sounds more like homework than a fun time at the movies.

Don't jump to conclusions. "Origin," though not a documentary, is still a social history, a spellbinding provocation that takes on weighty themes in drawing parallels among the caste systems in India, Nazi Germany and the American South.

As DuVernay has put it: "It took me a really long time to wrap my mind around the idea that there's something underneath racism that's called 'caste.' It doesn't mean racism doesn't exist. It means the foundation, the root, the origin, underneath is the very simple premise -- someone has to be better than someone else."

How do you make a movie about an intellectual argument? By putting a human face on it. DuVernay's idea was to thrust Wilkerson herself into her own thesis. Not an easy task, and you can feel the bumps in the narrative, especially when her characters become mouthpieces.

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Still, there's no denying DuVernay's ambition and grieving heart. All praise then to "King Richard" Oscar nominee Aunjanue Ellis-Taylor, who brilliantly nails every nuance as Wilkerson, the first woman of African-American heritage to win a Pulitzer Prize in journalism.

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To heighten the intimacy, DuVernay dramatizes Wilkerson's grief -- the deaths within a year of her white husband Brett Hamilton (a terrific Jon Bernthal), and her mother Ruby (Emily Yancy), the widow of a Tuskegee Airman who inspired Wilkerson's first bestseller, "The Warmth of Other Suns," about the great migration of Black Americans from Southern to Northern states.

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DuVernay was also motivated by Trayvon Martin ("MJ" Tony winner Myles Frost), the Black teen whose fatal 2012 Florida shooting at the hands of neighborhood watch member George Zimmerman opens the film. Strong choice since Trayvon's tragic death helped spark the Black Lives Matter movement and incited Wilkerson to start her book about caste hierarchies.

The tangle of plots and subplots may throw you off balance. But DuVernay, whose influential work has won an Emmy ("When They See Us") and Oscar attention ("Selma"), grips you hard as she retraces Wilkerson's steps in the book, shooting on location in Berlin, Delhi and the U.S.

Flashbacks illuminate Nazi Germany during the rise of Hitler, Mississippi during the Depression and India when Dr. Bhimrao Ambedkar (Gaurav J. Pathania) fought for the rights of Dalits, people degradingly known as "untouchables." How can it be racism, Wilkerson contends, when in India, everyone has similar skin colors? It's the feigned superiority of caste.

Is it? DuVernay wisely encourages debate. In an early scene, Wilkerson tries to explain her book's framework to her cousin Marion (the wonderful Niecy Nash-Betts), who brushes off the highfalutin jargon. "Tell it to me plain," says Marion. Duvernay heeds the lesson well. Is she taking on too much? Maybe. DuVernay even financed "Origin" independently, shooting her intimate epic over a scant 37 days, so her vision couldn't be compromised and she could face her audience without an ounce of pomposity or grandstanding.

The result is an emotional powerhouse that you'll be talking about for years, even if you don't agree with all of Wilkerson's arguments. With "Origin," DuVernay gives us something rare in a multiplex dominated by comic-book escapism: a movie that matters.

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Binge Guide

6 tv and streaming shows you should binge-watch in june 2024, we return to kingstown, king's landing, and carmy's kitchen, as well as the vastly different sci-fi/fantasy worlds of the boys , orphan black , and sweet tooth ..

TAGGED AS: streaming , TV

In June, we return to King’s Landing and Kingstown, plus the kitchen of The Bear and the post-apocalyptic world of Sweet Tooth . The superhero universe of The Boys and the clone club realm of Orphan Black are also back in a new season and a spinoff, respectively. These are the six streaming shows you should catch up on before they resume.

What it is: Food, family, and the restaurant business are the ingredients of this drama-infused culinary comedy series set in Chicago. Jeremy Allen White stars as Carmy, an award-winning chef who returns home to take over his late brother’s Italian beef sandwich shop. In the show’s second season, he and his brigade turn the spot into a fine dining establishment. Season 3 premieres Thursday, June 27.

Why you should watch it: Between the intense family and kitchen dynamics and the star-making performances from Jeremy Allen White and Ayo Edebiri, there’s never a dull or unappetizing moment in The Bear . Stressful in a compelling way, it’s a series that will whet your palate while wetting your brow.

Where to watch: Hulu (subscription, seasons 1-2)

Commitment: Approx. 10.5 hours (for seasons 1-2)

What it is: Adapted from the adult comic book series of the same name that brutally satirizes the superhero genre, The Boys follows the titular team of vigilantes tasked with monitoring people with powers. The “Supes” are as vile and corrupt as super-powered individuals might be in reality, and that makes this show about as R-rated as can be. Season 4 premieres Thursday, June 13.

Why you should watch it: Whether you think the superhero genre is too pure and optimistic, or you just want an outrageous action-fantasy show that’s anything but kid-friendly, The Boys is a funny, gory, dirty, and often shocking watch. Don’t be in the dark the next time one of its more astonishing episodes (like “Herogasm”) becomes the most talked-about TV content of the moment. The Boys is also part of a greater shared universe now, as live-action and animated spinoffs have been released since the start of this flagship show, which itself was just renewed for a fifth season following the upcoming fourth.

Where to watch: Prime Video (subscription, seasons 1-3); buy at Fandango At Home , Google Play , Microsoft , and Apple TV .

Commitment: Approx. 24 hours (for seasons 1-3)

What it is: The first Game of Thrones spinoff is a prequel set hundreds of years before the events of that hit HBO series and follows the reign of House Targaryen in the lead-up to the civil war known as the “Dance of the Dragons.” Season 2 premieres on Sunday, June 16.

Why you should watch it: If you loved Game of Thrones , you’ll also love this ensemble-based fantasy series set in the same universe and similarly focused on the politics and melodrama of kings, queens, and warriors. There’s a lot of tension between the many characters, especially among family members, as well as thrilling dragon-based action. As the show continues, it’s only going to get more gripping and more violent.

Where to watch: Max (subscription, season 1); buy at Fandango At Home , Google Play , Prime Video , Microsoft , and Apple TV .

Commitment: Approx. 10 hours (for season 1), or 84 hours if you include the eight seasons of Game of Thrones

What it is: From Taylor Sheridan, the creator of Yellowstone and Tulsa King, this violent crime series stars Jeremy Renner as the titular head of the titular town: Mike McLusky. For years, his family has been central to the power structure of Kingstown, where everything revolves around the local prison. Season 3 premieres Sunday, June 2.

Why you should watch it: While not as critically acclaimed as the other shows on this list, Mayor of Kingstown is popular with viewers (check that 90% Audience Score) as a successor to series like The Wire and Oz , with plenty of action and character-driven drama to hold interest. Season 3 is especially anticipated for Renner’s return following his near-fatal accident in 2023.

Where to watch: Paramount+ (subscription, seasons 1-2); buy at Fandango At Home ,   Prime Video , Google Play , Microsoft , and Apple TV .

Commitment: Approx. 15.5 hours (for seasons 1-2)

What it is: A sci-fi series starring Tatiana Maslany in a multi-role performance as several identical human clones. The plot of the show follows one clone in particular as she learns of their origins and must evade whoever is attempting to kill them all. The spinoff Orphan Black: Echoes , starring Krysten Ritter and set decades after the events of the main series, premieres on Thursday, June 23.

Why you should watch it: With the highly anticipated spinoff arriving soon, the original Orphan Black provides some necessary background into the world and characters of the new series. It’s also a consistently thrilling show with an exceptional, Emmy-winning performance by Maslany and is now considered a modern television classic.

Where to watch: AMC+ (subscription, seasons 1-5); buy at Fandango At Home , Prime Video , Google Play , Microsoft , and Apple TV .

Commitment: Approx. 37 hours (for  Orphan Black seasons 1-5)

What it is: Based on the Vertigo comic books, this Emmy-winning series takes place after a virus has wiped out most of the world’s population and children are born half-human/half-animal hybrids. The plot follows a 10-year-old boy with antlers in his quest to find his mother. Season 3 premieres Thursday, June 6.

Why you should watch it: With the third season being its last, now is the perfect time to catch up with Sweet Tooth before it ends. This is a rare coming-of-age fantasy show that you can watch with the whole family, as even its darkest moments are treated with care in a way that younger viewers can appreciate and learn from, and adults can also enjoy its uniquely strange premise and world-building. Christian Convery is absolutely charming in the lead role.

Where to watch:   Netflix (subscription, seasons 1-2); buy at Fandango At Home , Prime Video , Google Play , Microsoft , and Apple TV .

Commitment: Approx. 13 hours (for season 1-2)

Thumbnail image by Theo Whitman/HBO

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Where to Watch Origin Movie - Streaming & Theater Details

Origin , written and directed by Ava DuVernay, is currently playing in theaters and will soon be available to watch at home.

The film covers author Isabel Wilkerson embarking on a journey of worldwide exploration and revelation while crafting her book, Caste: The Origins of Our Discontents .

In 2020, plans were unveiled for DuVernay to create a film adaptation of Caste: The Origins of Our Discontents for Netflix . 

However, Netflix eventually disassociated from the project, and despite other studios declining involvement, Origin was ultimately produced by ARRAY Filmworks and distributed by Neon.

How to Watch the Origin Movie

Origin premiered in select theaters in New York and Los Angeles on December 8, 2023, before expanding to a nationwide release on January 19, 2024. It will open in the UK on Friday, February 9.

For those in the United States, most major theaters are currently screening Origin, with ticket information below:

• AMC Theaters

While box office expectations are moderately low, Origin has garnered acclaim, with positive reviews from critics on Rotten Tomatoes ( 81% critics approval), and will soon be available to watch online.

Can I Stream the Origin Movie Online?

Currently, Origin is unavailable to watch online, including purchase or streaming services.

The film, which stars Aunjanue Ellis-Taylor and Jon Bernthal, is expected to be available via Premium Video on Demand (PVOD) platforms soon following its theatrical release.

Anatomy of a Fall , the odds on leader to win Best International Feature Film at the Academy Awards, was also distributed by Neon and is currently available to rent or purchase online.

The French film opened in the United States on October 13, 2023, then became available on PVOD platforms on December 22, 2023, 70 days later.

A similar timeline would make Origin 's digital release date online on Friday, March 29. In addition, all Neon-distributed films ultimately hit Hulu during its Pay One streaming period.

This typically takes about four months or 120 days after opening in theaters. This makes the streaming release date of Origin most likely Friday, May 17.

Origin is now playing in theaters.

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Dr. Ian Gray (Michael Pitt) is a molecular biologist who is researching his theory on the evolution of the human eye. The scientist is obsessed with what spiritualists call the “windows into the soul.” He photographs every pair of eyes he can when he meets a mysterious woman whose eyes he cannot get out of his mind. This triggers a search for those eyes and research that may well proves Ian’s theory in “I Origins.”

Laura's Review: C

Molecular biologist Ian Gray (Michael Pitt, "Last Days," "Rob the Mob") is studying the eye in an effort to refute those who believe that its unique complexity cannot be explained by evolution, but it is his new research assistant, Karen (Brit Marling, "Another Earth"), who comes up with the idea of finding a sightless creature with the PAX6 gene necessary for eye development. But as she wades through mountains of data, Ian finds the mysterious woman, Sofi (Astrid Bergès-Frisbey, "Pirates of the Caribbean: On Stranger Tides"), whose multi-colored eyes seduced him at a party, a free spirit with a strong belief in spirituality. Years after her sudden, tragic loss, a weird occurrence involving his and Karen's newborn's eye scan leads him to India, where another child's iris appears to match Sofi's in "I Origin." Writer/director Mike Cahill's ("Another Earth") sophomore work oddly parallels Brit Marling's other filmmaker collaborator Zal Batmanglij's first, "Sound of My Voice," in which a pair of documentary filmmakers attempt to debunk a cult leader only to find themselves questioning their own beliefs. Both that film and Cahill's first were far better efforts than this one, not only because of a feeling of having been down this road before, but its underdevelopment, a poorly staged accident, obvious twist and the thoroughly skin-crawling scene of a white American adult male bringing a homeless Indian girl up to his hotel room unchallenged, something the filmmaker fails to address. The film begins well, a sexy, romantic mystery as Ian first spies Sofi, attired as a bird. He asks if he may photograph her eyes. Their encounter leads to sex, but she speeds off in a taxi without even having told him her name. Haunted, Ian begins to notice that one morning every number he encounters, from his cigarette purchase to his powerball ticket to his bus number is an eleven. Following the signs, he comes across a billboard for Devonne Paris, those mysterious eyes its main feature ("Great Gatsby!"). Tracking the model down, he finds Sofi, who tells him she was sending him signals (a provocative idea that is promptly dropped throughout the rest of the film). Sofi is into the spirit world, a statue that appears to have real eyes, white peacocks and strawberry Mentos and she questions why Ian is trying to disprove God. Ian counters that God has never been proven. After a symbolic accident where Ian's eyes are splashed with hydrochloric acid, another follows with more final, fatal results, his impaired sight a possible contributing factor (an indie budget can forgive much, but the latter is laughable in its execution). Years later, the now successful married scientific team of Ian and Karen agree to an eye scan for their newborn. The first scan brings up the record of one Paul Edgar Dairy. The nurse fluffs it away as a malfunction, succeeding on the second try. Later the Grays get a call from Dr. Jane Simmons (Cara Seymour, "An Education"), a Yale researcher who says she'd like to test their child for a possible indication of autism. She shows the child a series of side by side pictures to see which is responded to. It's easy to see where all this is heading. But do the Grays question Simmons? No, instead they begin their own research, looking for matches - which should not exist - with Ian's collection of eye photographs against an eye scan database Ian's lab partner Kenny (Steven Yeun, AMC's 'The Walking Dead') has access to. The actors are not to be faulted here - they're committed and the three leads, at least, create three disparate people, Pitt the conflicted (if dreamy) scientist, Marling the committed researcher whose attraction to her boss is there for the observant eye to see, Bergès-Frisbey this film's version of the manic pixie dream girl. Archie Panjabi (TV's 'The Good Wife') plays an Indian social worker who aids Ian in his search for Salomina (Kashish), the little girl with multi-colored eyes. But what is "Another Earth" star William Mapother doing here as a man met twice at a hotel elevator? There's no rationale for his inclusion. The filmmaker also never goes out of his way to explain the reason why creationists point to the eye as proof of intelligent design. Ian's initial trip to investigate the results of his own child's test results is too coincidental by half, a Boise diner waitress referring him to a dairy farm as an area attraction. The production, that fatal accident excepted, looks lavish. "I Origins" is a bunch of mumbo jumbo parading as deep thought, a concept in search of a movie. It may look pretty, but it's also pretty shallow. Grade:

Robin's Review: C+

Writer-director Mike Cahill creates a (sort of) science fiction, science versus religion story with the eyes, excuse the pun, the focus of “I Origins.” Ian believes that the every pair of eyes has a pattern and that pattern has biometric match with others, linking them together. His research, though, is to create the eye from scratch, with the help of his post-grad school assistant, Karen (Brit Marling). This part is interesting in its concept. Not so interesting is the relationship between Ian and the mystery woman, Sofi (Astrid Berges-Frisbey), whose eyes possess him. When he sees those eyes on a giant billboard, he begins, in almost stocker-like fashion, a search for her. They meet, fall in love and marry and life is idyllic for the young couple until it ends in tragedy. I was more interested in “I Origins” when it returns to the laboratory and its science. This is a play in three acts: act one with Sofi, act two delving into ocular science with his soon-to-be second wife, Karen and act three the finale, where Ian journeys to India to investigate an inexplicable match with his dead wife’s eyes. This part involves a young Indian girl – the possible match – whom Ian takes, alone, to his hotel room to ask her questions. The image of Ian walking hand in hand down the hallway to his room has a major creepiness factor in this world aware of child abuse. The filmmakers could have resolved this rather easily, making me think that they did not even consider this image in any way negative. If so, I disagree - strongly. Parts of this romantic science fiction story are undeniably interesting. Others require a strong suspension of disbelief and even then I was scratching my head. The problem is, I think, in Cahill’s too many threads script that fails to tie up all their loose ends.

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Ava duvernay's 2024 movie with 97% rotten tomatoes audience score gets streaming release date.

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Ava DuVernay's 10 Best TV Shows & Movies, Ranked (According To IMDb)

Netflix’s trending $386 million jennifer lopez movie features a 17-year reunion for her 92% rt hit, 10 sci-fi thrillers we're still confused about.

• Origin , written and directed by Ava Duvernay, receives a streaming release on Hulu on June 10 after a 97% audience score on Rotten Tomatoes.
• Origin is highly acclaimed but underseen; it received standing ovations at film festivals and has an 82% critics score.
• Despite strong reviews, Origin only made $4.9 million in theaters, but its Hulu release may change its popularity.

Origin , Ava Duvernay's 2024 movie with a 97% audience score on Rotten Tomatoes, receives a streaming release date. Written and directed by Duvernay – known for Selma , 13th , and 2018's A Wrinkle in Time – the biographical film is based on the life of author Isabel Wilkerson as she travels the world writing her 2020 book, Caste: The Origins of Our Discontents , which explores how historical caste systems influenced racism in the United States. The Oscar-nominated Aunjanue Ellis-Taylor ( King Richard ) leads the film's cast alongside Jon Bernthal, Emmy winner Niecy Nash-Betts ( Monster ), Finn Wittrock, Vera Farmiga, Connie Nielsen, and Nick Offerman.

Now, after its theatrical release earlier this year, Duvernay's latest film has received a streaming release date. According to Collider , Origin is coming to Hulu on June 10 . The movie has been available to rent/purchase on digital platforms since March.

Origin Is Highly Acclaimed, But Criminally Underseen

It made only $4.9m at the box office.

Considering its critical and audience response, Origin has arguably emerged as one of the best movies to be released in 2024 so far. However, considering its low box office numbers and overall little awareness among the general public, it's been criminally underseen. In September 2023, Origin screened at the Venice and Toronto International Film Festivals to glowing reception and standing ovations. Overall, Origin reviews call it a compelling drama that boldly tackles profound questions and pays tribute to its source material with strong performances that help drive its deeply emotional narrative .

Due to its positive reviews, Origin 's Rotten Tomatoes score is 82% from the critics , continuing a trend for the acclaimed director, as almost all her films have received a "Fresh" rating on the review aggregator. This includes her 2014 Martin Luther King Jr. biopic, Selma , which boasts a near-perfect 99% Rotten Tomatoes score. Furthermore, her Netflix documentary about mass incarceration, 13th , has a 97% score, and her prior indie dramas, I Will Follow and Middle of Nowhere , have received 82% and 88% scores, respectively.

Ava DuVernay's Best TV Shows & Movies, Ranked

From award-winning movies to acclaimed TV shows, Ava DuVernay is a well-respected voice. Here are her 10 best works so far (according to IMDb).

Those who saw Origin have appreciated it, indicated by its 97% score with 500+ verified ratings from audiences, who also consider it an exceptional work that delivers impactful drama and a valuable message for viewers. The only problem so far is that Origin has been criminally underseen, making only $4.9 million at the box office on a $38 million budget . However, with Origin arriving on Hulu soon, hopefully its streaming availability will change that.

Origin is currently available to rent/purchase on digital platforms, such as Prime Video from $5.99.

Source: Collider

Based on the life and the book of Isabel Wilkerson, Origin is a biographical drama film by writer-director Ava DuVernay. Isabel, contending with tragedy in her own life, sets off on a journey of self-discovery and inspiration to craft her award-winning book,  Caste: The Origins of Our Discontents.

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, furiosa: a mad max saga.

Now streaming on:

“The question is, do you have what it takes to make it epic,” says an undaunted Chris Hemsworth . It’s a call to action that comes toward the end of “Furiosa: A Mad Max Saga,” George Miller ’s apocalyptic epic western prequel to “ Mad Max: Fury Road ” that could, of course, be directed at Miller himself. Because this film is here to give you more: more gravity-defying chases, more high-flying stunts, more deeply felt pathos, and, somehow, an even greater spirit to push the limits of what the frame can hold—employing Christian iconography and Arthurian legend to craft an entrancing story that still manages to surprise, even if we already know of the bleak future its guiding us toward. It’s simply one of the best prequels ever made.  

Broken into five chapters, each denser than the last, the film begins with a very young Furiosa ( Alyla Browne ) picking fruit from a tree near her bucolic homeland “The Green Place.” A biker gang arrives to forage the land. And though Furiosa ably attempts to sabotage their bikes, she is captured, causing her mother ( Charlee Fraser ) to venture out into the desert wasteland to retrieve her. A crazed chase ensues, one of the film’s many expansive set pieces, that sees Furiosa’s mother pursuing her daughter’s kidnappers over sand dunes and through a sandstorm, to the steps of a hideout belonging to the messianic figure Dementus (Chris Hemsworth). This is the beginning of a decade-long feud between Furiosa and Dementus that involves revenge, grief, and the desire to return home. 

To do any further summarizing would, of course, not only spoil the film, but would also say that the narrative beats are necessary. They’re not. That doesn’t mean “Furiosa” is illogical, rather that, more than anything, Miller is telling an emotional story of how a once virtuous child became a hardened woman. That kind of arc matches well with the film’s operatic sensibilities as we’re introduced to the origins of wasteland fortresses like Gas Town and Bullet Farm, and taken to the Citadel helmed by a younger, more imposing Immortan Joe ( Lachy Hulme ). Other characters like Immortan Joe’s bumbling sons Rictus ( Nathan Jones ) and Scrotus (Josh Helmen) return, and tips of the hat are given to fan favorites from “Fury Road.”

Surprisingly, the older Furiosa (a striking Anya Taylor-Joy ) doesn’t appear until an hour or so in the film. That might inspire immediate disappointment in some, but it shouldn’t: Because Alyla Browne as the adolescent Furiosa is so absorbing, often recalling a young Jodie Foster in her mixture of otherworldly intelligence and relentless confidence. The groundwork she lays is so seamless that by the time we leap forward to Taylor-Joy’s take on the character, it required a few beats before I could tell the difference between the two actresses. 

Miller is so assured at reading an audience, he even crafts an elongated chase that sees Furiosa driving across the wasteland with Praetorian Jack ( Tom Burke ) on an oil run that gives Taylor-Joy and the character the perfect entrance: a hard-push in for a worthy close-up. Though Burke is on screen for a relatively short time, he and Taylor-Joy build quick chemistry as two lost souls who believe that paradise still exists somewhere in the world if they follow the map of stars tattooed on Furiosa’s forearm. 

If it feels like Hemsworth is an also-ran, he isn’t. Which is odd to say because he is saddled with a terrible wig and an obtrusive prosthetic nose, and even disappears for long stretches. Still, whenever he does show up, he might be the best part of “Furiosa.” He doesn’t just get the best, more instantly quotable lines. He has never been more physically commanding, first as a poised messiah and swindler, then as a blow-hard politician, then as an emperor with no clothes on. The combination of Dementus’ wit, callousness, and cold calculations is a persona Hemsworth has worked on for some time and it all comes together here for an unforgettable villain turn.  

I can certainly nitpick about what elements I prefer in “Fury Road” as opposed to “Furiosa.” There’s far more VFX in the latter, causing me to miss some of the thrills Miller inspired with his unflinching use of practical effect. I also think that “Fury Road” acts on a subtler thematic level, which is saying something, because the visual language in that film—for as immaculate as the craftsmanship is—basically bashes you over the head. “Furiosa” goes one step further; every line of dialogue flags the metaphorical importance of every scene. And yet, it’s easy to ignore these tiny grievances not only because you’re left marveling at the big swing Miller is taking, but also because his interest in this world, these characters, and this type of big, bold storytelling is so infectious. There’s also a character named piss boy, so this really is a movie with something for everyone. 

No one knows how to do scale better than Miller. Margaret Sixel and Eliot Knapman ’s editing is breathtakingly seamless—quickly building both rapport between characters and gnarly deaths with equal tenacity—to the point that DP Simon Duggan ’s eloquent photography of these desolate death valleys, matched by composer Tom Holkenborg deafeningly propulsive score, wholly immerses you in way that isn’t needlessly showing. Each large set piece feels necessary, aware of space and story, and brimming with a camera that takes delight in knowing exactly what kill shot or angle of the many battles we want to take in as it swoops between lunging bodies, massive infernos, monster trucks, big rigs, and over sand dunes. 

Much will be written about “Furiosa” on a thematic level, such as how it subverts the Biblical apple scene for a well-earned ending or how it speaks of our present environmental, militaristic, and regressive political reality—particularly why we go to war and the fecklessness of the leaders who take us there. But this is also just a big, entertaining popcorn movie, told with a sense of adventure and play. Miller isn’t here for tawdry melodrama, algorithmic plotting, or art designed for the small screen. “Furiosa” aims to blow you away. And it does. To Valhalla and beyond. 

This review was filed from the premiere at the Cannes Film Festival. It opens on May 24th.

Robert Daniels

Robert Daniels is an Associate Editor at RogerEbert.com. Based in Chicago, he is a member of the Chicago Film Critics Association (CFCA) and Critics Choice Association (CCA) and regularly contributes to the  New York Times ,  IndieWire , and  Screen Daily . He has covered film festivals ranging from Cannes to Sundance to Toronto. He has also written for the Criterion Collection, the  Los Angeles Times , and  Rolling Stone  about Black American pop culture and issues of representation.

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Film credits.

Furiosa: A Mad Max Saga (2024)

148 minutes

Anya Taylor-Joy as Imperator Furiosa

Chris Hemsworth as Warlord Dementus

Tom Burke as Praetorian Jack

Lachy Hulme as Immortan Joe / Rizzdale Pell

Angus Sampson as The Organic Mechanic

Nathan Jones as Rictus Erectus

• George Miller
• Nico Lathouris

Original Music Composer

• Tom Holkenborg

Director of Photography

• Simon Duggan
• Eliot Knapman
• Margaret Sixel

Latest blog posts

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The Future of the Movies, Part 3

All of Will Smith's movies, ranked

• "The Fresh Prince of Bel-Air" star Will Smith has appeared in a variety of movies.
• Smith's best films include newer ones like "Dads" (2019) and "King Richard" (2021).
• But movies like "Collateral Beauty" (2016) and "After Earth" (2013) were panned by critics.

Smith had a small cameo in "Student of the Year 2" (2019).

Rotten Tomatoes score : 6%

Summary : After following his crush to a new college, Rohan Sachdev (Tiger Shroff) tries to impress her by winning the "Student of the Year" cup. 

The sequel, which was released seven years after the original, was a major letdown for critics. 

In a review for The National , Kumar Shyam wrote that "the script and the climax make it an overall dud."

He played Cypher Raige in "After Earth" (2013).

Rotten Tomatoes score : 12%

Summary : In the distant future, general Cypher Raige (Smith) explores a ravaged Earth with his son Kitai (Jaden Smith) at his side. 

"After Earth" was a flop for critics , who largely found it heavy-handed and painfully long. 

Critic Larushka Ivan-Zadeh called it "preachy" and "draggingly directed by M. Night Shyamalan." 

Smith starred as Howard in "Collateral Beauty" (2016).

Rotten Tomatoes score : 13%

Summary : While reeling from the loss of his young daughter, Howard Inlet (Smith) writes letters to the concepts of love, time, and death as a therapeutic exercise and is stunned when they seemingly answer his response. 

Despite being packed with a star-studded ensemble cast, "Collateral Beauty" struck the wrong chord with critics. 

"'Collateral Beauty' packs an impressive amount of failure into a film that barely crosses the 95-minute mark," Steve Prokopy wrote  for Third Coast Review. 

In "Winter's Tale" (2014), he played the Judge.

Summary : Based on the novel by Mark Helprin , "Winter's Tale" centers on Peter Lake (Colin Farrell), a thief who sets out to save heiress Beverly Penn (Jessica Brown Findlay) from the brink of death. Smith appeared as Lucifer. 

Critics said "Winter's Tale" failed to capture the magic of the original novel . 

"'Winter's Tale' feels distant and disconnected," Nathalia Aryani wrote for the MovieMaven. "It should have been magical."

He was James West in "Wild Wild West" (1999).

Rotten Tomatoes score : 16%

Summary : This steampunk Western follows Secret Service agents James West (Smith) and Artemus Gordon (Kevin Kline) as they set out to protect the president from assassination. 

Critics said the producers of "Wild Wild West" should've invested in a better script instead of doubling down on outdated CGI. 

"The movie is exhausting, utterly without feeling, and pointless — though Smith looks great in his Western outfit," Terrence Rafferty wrote for The New Yorker . 

Smith returned as detective Mike Lowrey in "Bad Boys II" (2003).

Rotten Tomatoes score : 24%

Summary : A drug investigation takes a dramatic turn for Mike Lowrey (Smith) and Marcus Burnett (Martin Lawrence) when Marcus' sister Syd (Gabrielle Union) is taken hostage. 

Critics called "Bad Boys II" an overblown and overstuffed action film that lacked the punch of its predecessor. 

"The movie is one big raging pile of macho steam-blowing," Jeffrey Chen wrote for Window to the Movies . "Maybe the participants got something out of their systems, but the result just feels like hot air." 

He played Daryl Ward in "Bright" (2017).

Rotten Tomatoes score : 26%

Summary : In a fantasy world where humans and mythical creatures live side by side, Daryl Ward (Smith) and his new orc partner, Nick Jakoby (Joel Edgerton), reluctantly pair up to solve a string of crimes in their city. 

Critics said "Bright" had its fingers in too many pots by trying to be a convincing fantasy film, comedy, and social drama. 

"'Bright' is basically a tired buddy-cop movie dressed up in bizarre trappings," Richard Roeper wrote for the Chicago Sun-Times .

In "Suicide Squad" (2016), he was Deadshot.

Summary : Intelligence officer Amanda Waller (Viola Davis) uses a group of Gotham villains to her advantage when she sends the Joker (Jared Leto), Harley Quinn ( Margot Robbie ), Deadshot (Smith), and more on a mission they can't refuse. 

Despite some stellar casting choices, "Suicide Squad" failed to keep critics engaged. 

"It's baffling that this movie struggled with its storyline to such a distressing degree," Mike Massie wrote for Gone With the Twins. 

Smith played Henry Brogan and Junior in "Gemini Man" (2019).

Rotten Tomatoes score : 27%

Summary: As soon as he quits his career as a hitman, Henry Brogan (Smith) is suddenly targeted by a young operative who looks shockingly familiar. 

Some critics enjoyed the visuals and Smith's lead performance, but most were unimpressed by the subpar plot. 

"The technology of 'Gemini Man' may be amazing, but the narrative is anything but," Roxana Hadadi wrote in a review for Chesapeake Family Magazine.

The actor was Ben Thomas in "Seven Pounds" (2008).

Summary : IRS agent Ben Thomas (Smith) struggles with a terrible secret and hopes to redeem himself by changing the lives of seven deserving strangers. 

The drama left critics feeling disconnected and disturbed, especially by the film's ending . 

"'Seven Pounds' is a profoundly irritating mystery about a profoundly silly man," James Christopher wrote for The Times . 

In "Made in America" (1993), he had a small role as Tea Cake Walters.

Rotten Tomatoes score : 32%

Summary : Zora (Nia Long) confronts her mother (Whoopi Goldberg) when she realizes that her absent father is a loud-mouthed sperm-bank donor named Hal Jackson (Ted Danson). 

"Made in America" earned minor praise for its laughs and charming cast, but overall, critics felt like the comedy was less than the sum of its parts. 

"This first-time screenplay by Holly Goldberg Sloan feels more like an outline, and director Richard Benjamin doesn't seem to know quite what to do with it," Chris Hicks wrote for Deseret News . 

He voiced Oscar in the animated movie "Shark Tale" (2004).

Rotten Tomatoes score : 35%

Summary : A fish named Oscar (voiced by Smith) winds up in huge trouble when he spreads a lie about taking down a great white shark. 

Some critics saw "Shark Tale" as a fun, lighthearted romp, but it failed to measure up to other DreamWorks classics like "Shrek" (2001) and "Chicken Run" (2000). 

In a review for the List , James Mottram called it "an adequate time-killer that benefits from an impressive voice cast."

Smith returned as Agent J in "Men in Black II" (2002).

Rotten Tomatoes score : 38%

Summary : When Agent J (Smith) goes up against a Kylothian monster (Lara Flynn Boyle), he reluctantly calls on his old partner Agent K (Tommy Lee Jones) for help. 

Critics largely agreed that "Men in Black II" failed to break new ground or bring big laughs. 

In a review for Solzy at the Movies, Danielle Solzman wrote that the film "unfortunately suffers at the core as the sequel just doesn't quite have the same magic as its predecessor."

He was John Hancock in the action-comedy "Hancock" (2008).

Rotten Tomatoes score : 42%

Summary : John Hancock (Smith) is an unconventional superhero with a lack of direction until a PR agent (Jason Bateman) offers to clean up his public image. 

According to critics, "Hancock" earned praise for its bold premise but seemed to fall apart as it reached its climax. 

"I wanted to like 'Hancock,' especially after its rather enjoyable beginning, but ultimately the film is nothing more than a disappointing case of what-could-have-been," Micheal Compton reviewed  for Bowling Green Daily News. 

The actor appeared as himself in "Jersey Girl" (2004).

Rotten Tomatoes score : 43%

Summary : Single dad Ollie Trinke (Ben Affleck) laments the life he lived when he was a big-shot music producer until a sweet book editor (Liv Tyler) helps him realize there's more to life than work. Smith made a cameo in the film as himself. 

Sweet and sentimental to a fault, "Jersey Girl" failed to completely win over film critics . 

"... its heart is in the right place," Kimberley Jones wrote for the Austin Chronicle . "Unfortunately, that heart is about the only element here that doesn't strain credibility." 

In "The Legend of Bagger Vance" (2000), he played the titular lead.

Summary : Based on the novel by Steven Pressfield, this drama follows down-on-his-luck golfer Rannulph Junuh ( Matt Damon ), whose life changes for the better when he meets Bagger Vance (Smith). 

The adaptation left something to be desired for a majority of critics, but many still enjoyed Damon and Smith's lead performances. 

In a review for Newsweek , David Ansen wrote that "the real sparks are between Damon and the mischievously enigmatic Smith." 

Smith first played Mike Lowrey in "Bad Boys" (1995).

Rotten Tomatoes score : 44%

Summary : With their jobs on the line, Miami detectives Mike Lowrey (Smith) and Marcus Burnett (Lawrence) are given five days to track down $100 million in confiscated drugs. 

Critics said "Bad Boys" didn't offer too much in terms of a compelling story, but for some, it skated by on Smith and Lawrence's charm. 

"The plot and characterization are largely irrelevant — just sit back and feast on the adrenaline-pumping action and the live-wire banter of the two stars," John Ferguson reviewed for Radio Times . 

He played an escaped slave in "Emancipation" (2022)

Rotten Tomatoes score : 45%

Summary : Set in Louisiana 1860s after President Lincoln issued the Emancipation Proclamation, Smith plays a runaway slave who trudges through swamps trying to evade slave catchers.

Critics felt the movie was too harrowing and felt it didn't bring anything new to a topic that had been displayed on the screen previously to high praise.

"There's a pronounced Hollywood-ized feel to the finished product, one that doesn't compare favorably with other projects that have covered similar territory," wrote CNN critic Brian Lowry .

He was Nicky in "Focus" (2015).

Rotten Tomatoes score : 56%

Summary : After years apart, a con artist (Smith) is thrown off his game when his apprentice ( Robbie ) resurfaces in the middle of his latest scheme. 

Gorgeous settings and charming lead actors couldn't save "Focus" from uneven reviews. 

"Simultaneously nonsensical yet fun to watch, with a little more focus 'Focus' could have been the blockbuster that Smith desperately needs it to be," Richard Propes wrote for The Independent Critic . 

He portrayed the Genie in Disney's live-action "Aladdin" (2019).

Rotten Tomatoes score : 57%

Summary : After summoning a powerful Genie (Smith), street thief Aladdin (Mena Massoud) tries to win over the heart of Princess Jasmine (Naomi Scott) and change his life for the better. 

Although it didn't dazzle critics the way the animated original did , "Aladdin" still had its fair share of admirers. 

"Overall, 'Aladdin' wasn't perfect, but nothing will ever live up to the classic '92 version," Aramide Tinubu wrote for Stylecaster . "Still, if you have a kiddo, or if you're still a big kid at heart, we certainly recommend it."

Smith played detective Del Spooner in "I, Robot" (2004).

Summary : In 2035, detective Del Spooner (Smith) investigates a high-profile death and suspects that the victim's android assistant may be responsible. 

"I, Robot" received a mixed reception from critics, who enjoyed the summer blockbuster but wanted it to go deeper. 

"Some stirring action sequences and a fascinating futuristic setting keeps things entertaining, even if this loose adaptation of the Isaac Asimov doesn't always take the most original approach possible," Leigh Paatsch wrote for the Herald Sun . 

The actor portrayed Dr. Bennet Omalu in "Concussion" (2015).

Rotten Tomatoes score : 58%

Summary : Inspired by a true story , "Concussion" centers on Dr. Bennet Omalu's (Smith) efforts to spread awareness about the dangers of football-related brain trauma. 

Many critics felt like "Concussion" could've been a truly gripping drama if it had benefited from better direction. 

"'Concussion' is an interesting story that's diminished by its own apparent desire to be seen as significantly greater than the sum of its parts," wrote Olly Richards for NME . 

He came back as Agent J in "Men in Black III" (2012).

Rotten Tomatoes score : 67%

Summary : Agent J (Smith) travels back in time to stop the unthinkable from happening when he realizes Agent K's (Jones) life is on the line. 

Although imperfect, "Men in Black III" was still appreciated by many critics, who thought it shook off the shortcomings of the second installment. 

"While it's a little thrown together, 'Men in Black 3' definitely has one thing going for it: The filmmakers seem focused on recapturing not just the style but also the soul of the original," Tim Grierson wrote  for Deadspin. 

Smith starred as Chris Gardner in "The Pursuit of Happyness" (2006).

Summary : With his young son ( Jaden Smith ) at his side, Chris Gardner (Will Smith) struggles to break out of a brutal cycle of poverty, eviction, and unemployment in the adaptation of the book of the same name. 

Some critics couldn't look past the melodrama, but "The Pursuit of Happyness" earned overwhelming praise for Smith's central acting performance. 

"It is Will Smith's lead performance in this that really stole the show and won me over," Nicholas Oon reviewed  for Maximum Hype. 

Smith and Martin Lawrence team for a fourth movie in the franchise, "Bad Boys: Ride or Die." (2024)

Summary : Smith and Lawrence return as the outlandish Miami cops in the popular franchise. This time their characters have to go on the other side of the law the clear the name of their former captain.

Critics praise the movie for its action, which continues to elevate as the movies go on.

"'Bad Boys: Ride or Die' has learned a few valuable lessons from the 'Fast & Furious' franchise — dumb and loud, executed with right enthusiasm, can feel like a warm hug," wrote critic Clarisse Loughrey from The Independent .

Smith portrayed Muhammad Ali in "Ali" (2001).

Rotten Tomatoes score : 68%

Summary : This sports biopic traces Muhammad Ali's (Smith) origins, from promising young boxer to philanthropist and activist. 

Overall, critics felt like "Ali" was an admirable attempt to celebrate the athlete's life and career. 

"I respect it enormously, but it feels like an art film in search of a movie," Ansen wrote for Newsweek . 

He was Robert Neville in the apocalyptic drama "I Am Legend" (2007).

Summary : With his loyal dog by his side, scientist Robert Neville (Smith) wanders a postapocalyptic world filled with vampiric mutants in the hopes of finding other survivors. 

Critics largely agreed that the science-fiction film wouldn't be the same if Smith wasn't carrying it. 

"Smith turns in a terrific performance, nailing Neville's angst while allowing room for humor," Calvin Wilson wrote for the St. Louis Post-Dispatch. 

He starred as Steven Hiller in "Independence Day" (1996).

Summary : Over the Fourth of July weekend, an alien race arrives and threatens to overtake the globe, as captain Steven Hiller (Smith) and military forces around the world rise to the occasion. 

Despite being called formulaic and chock-full of cheesy dialogue, "Independence Day" still endures with reviewers as a solid blockbuster. 

"'Independence Day,' then and now, remains the epitome of a stand-up-and-cheer movie," Don Shanahan wrote for 25 Years Later . 

In "Hitch" (2005), Smith starred as Alex Hitchens.

Rotten Tomatoes score : 69%

Summary : After years of striking out with the ladies, Albert (Kevin James) seeks help from love guru Alex "Hitch" Hitchens (Smith). But when Hitch meets Sara (Eva Mendes), he realizes he may need to rethink his own approach to love. 

It would never win any Oscars, but the romantic comedy still yielded plenty of laughs from critics. 

"It's witty, full of romantic wisdom and makes up for in laughs what it lacks in substance," Sloan Freer wrote for Radio Times . 

Smith was Robert Clayton Dean in “Enemy of the State” (1998).

Rotten Tomatoes score : 71%

Summary : When a videotape of a murdered congressman comes under his possession, Robert Clayton Dean (Smith) races to prove his innocence and pin down the ones responsible. 

Although spotty in a few places, "Enemy of State" confirmed Smith's rising status as a Hollywood star . 

In a review for Santa Cruz Sentinel , Michael Caither wrote that director Tony Scott "creates suspense by utilizing believable technology and realistic, well-grounded characters."

Smith played an ESPN reporter in "Anchorman 2: The Legend Continues" (2013).

Rotten Tomatoes score : 74%

Summary : After Ron Burgundy ( Will Ferrell ) secures a spot on the world's first 24-hour news network, he brings back his old crew ( Paul Rudd , Steve Carell , and David Koechner) to climb in the ratings. 

Critics largely agreed that the second installment didn't reach the same heights as the original, but that didn't stop them from laughing. 

"For all its faults, 'Anchorman 2' manages to hit its funny mark," Josh Terry wrote for Deseret News . 

He returned as Mike Lowrey for "Bad Boys for Life" (2020).

Rotten Tomatoes score : 76%

Summary : Up against the biggest case of their careers, an injured Mike (Smith) and recently retired Marcus (Lawrence) are forced to partner up with their younger counterparts to get the job done. 

Critics said "Bad Boys for Life" was a fitting action-comedy for anyone who loves quippy humor and flashy action sequences.

"Half of the draw is the action, and the filmmakers amp things up nicely," Alex Bentley wrote for Culture Map . "... The other half of the draw is the chemistry between Smith and Lawrence, and it remains great."

In "Spies in Disguise" (2019), he voiced super-spy Lance Sterling.

Rotten Tomatoes score : 77%

Summary : After suave secret agent Lance Sterling (voiced by Smith) accidentally turns himself into a pigeon, he must rely on the help of his scientific assistant (voiced by Tom Holland ) to continue his mission. 

"Spies in Disguise" earned praise from critics as a sweet and simplistic animated treat. 

Critic Hagan Osborne wrote that it earned solid points for its "impressive visuals, high-octane action, humour, and strong performances from the voice cast." 

The actor was Manny in "Where the Day Takes You" (1992).

Rotten Tomatoes score : 80%

Summary : After getting out of jail, King (Dermot Mulroney) returns to his life as a Los Angeles runaway with his crew and friends (Smith, Balthazar Getty, Boyle, and Sean Astin ). 

Critics called "Where the Day Takes You" a hard-hitting drama that showcased the talents of a slew of young actors. 

"The movie ... shows a side of runaway kids we haven't seen before: how they form surrogate families in the streets, seeking reassurance and security that they never felt at home," wrote critic Roger Ebert .

In the film "Six Degrees of Separation" (1993), Smith played Paul.

Rotten Tomatoes score : 88%

Summary : Two art dealers, Flan ( Donald Sutherland ) and Ouisa Kittredge (Stockard Channing), are thrown for a loop when they're roped into a con by a seemingly innocent stranger named Paul (Smith). 

Intelligent, gripping, and well-acted, "Six Degrees of Separation" garnered high praise from critics. 

"A rare sight: a sharply observed Hollywood satire of poignant ideas, such as opportunities in life, achieving fame in American society, and how we all are in one way or another con men," wrote critic Emanuel Levy .

Smith portrayed Richard Williams in "King Richard" (2021).

Rotten Tomatoes score : 90%

Summary : "King Richard" tells the true story of how tennis stars Venus (Saniyya Sidney) and Serena Williams (Demi Singleton) climbed to fame through the support of their parents Brandi (Aunjanue Ellis) and Richard (Smith). 

Critics rushed to praise "King Richard" as a compelling and complex biopic that uplifts its feature stars. 

"Funny and inspirational, [Smith] disappears into the role of the man obsessed with bringing his daughters to the top of their game," Richard Roeper wrote for the Chicago Sun-Times . 

Smith originated his role as Agent J in "Men in Black" (1997).

Rotten Tomatoes score : 91%

Summary : New York cop James Darrel Edwards (Smith) is recruited to a secret galactic organization and rebranded as "Agent J" so that he can assist veteran Agent K (Jones) and save the planet from alien invaders. 

Hailed as refreshingly creative and wildly entertaining, "Men in Black" has long endured as one of Smith's best-reviewed movies. 

"'Men in Black' is the wryest, sharpest, most entertaining special effects film in recent memory, a simultaneous participant and mocking parody of the more-bang-for-your-buck behemoth genre," Paul Tatara wrote for CNN . 

Smith appeared as himself in the documentary "Dads" (2019), his best-reviewed work.

Rotten Tomatoes score : 94%

Summary : This heartwarming documentary from actress-director Bryce Dallas Howard shines a light on remarkable fathers around the world.

Critics said it was hard to fight a smile when watching this touching and personal documentary. 

Critic Steve Crum called the film "a joyful, tearful, happy discovery of the re-defining of fatherhood." 

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