First reactionsSocial reactions
Short posts from invited critics and guests after a premiere. Enthusiastic by design; rarely critical.
Early impressions come in layers. Know which layer you are reading before you let it decide your weekend.
First reactionsShort posts from invited critics and guests after a premiere. Enthusiastic by design; rarely critical.
Full reviewsComplete critical reviews published at a set time agreed with the distributor.
| Festival | Location | Usual timing | Known for |
|---|---|---|---|
| Sundance | Park City, Utah (moving to Boulder, Colorado from 2027) | January | US independent premieres |
| Berlinale | Berlin, Germany | February | International and political cinema |
| SXSW | Austin, Texas | March | Genre films and studio comedies |
| Cannes | Cannes, France | May | Auteur cinema, some summer tentpoles |
| Venice | Venice Lido, Italy | Late August – early September | Awards-season launches |
| Telluride | Telluride, Colorado | Labor Day weekend | Unannounced awards contenders |
| TIFF | Toronto, Canada | September | Audience award and fall slate |
| Fantastic Fest | Austin, Texas | September | Horror and genre |
Before a big studio film opens, the distributor holds press and premiere screenings. Afterwards it often lifts a social embargo, allowing attendees to post brief impressions. These first reactions are the most visible early signal and the least reliable. Attendees are frequently invited guests, the screening is often a celebratory premiere, and a single-sentence post leaves no room for nuance. A film whose first reactions are unanimously glowing can still receive mixed reviews.
The review embargo is the second, more important milestone. It is the agreed time when full reviews may be published — typically a few days to a week before release for most studio films, sometimes earlier when a distributor is confident and later when it is not. A review embargo set for the evening before opening is widely read as a sign of caution, though it is not proof of anything.

Festival premieres work differently. At Cannes, Venice, TIFF and Sundance, reviews are typically published as soon as the press screening ends, so the first critical consensus can form months before a film reaches cinemas. Standing ovation lengths reported from Cannes and Venice make headlines, but they measure the room, not the film. Awards contenders often travel the Venice–Telluride–TIFF circuit in quick succession, building or losing momentum along the way.
Rotten Tomatoes reports the percentage of approved critics whose review is positive; it does not measure how positive. A film can score 90% with lukewarm praise. Metacritic converts reviews into weighted scores and averages them, which better reflects intensity but relies on a smaller pool. Early on, both are based on a handful of reviews and can swing sharply. Audience scores, such as CinemaScore's opening-night survey grades, only exist after release.
Trade outlets regularly publish box office tracking: predictions of opening-weekend earnings based on audience awareness surveys. Tracking is a business forecast, not a quality signal. Test screening reports, often leaked anonymously, describe unfinished cuts and are best ignored.
Desk practice: on this site, "Early reactions" means social posts; "Early reviews" means full reviews published after an embargo or festival screening. We never present one as the other.
Ready to plan? Head to the release calendar.