Consequence of Sound's Scores

For 174 reviews, this publication has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Love & Friendship
Lowest review score: 0 31
Score distribution:
  1. Positive: 98 out of 174
  2. Negative: 26 out of 174
174 movie reviews
  1. Love & Friendship is easily the funniest movie Whit Stillman has ever made. His bristling screenplay — which shows shades of Noël Coward and Evelyn Waugh — has so many impeccable one-liners that it would take three or four viewings to catch them all.
  2. Krisha, directed by first-timer Trey Edward Shults, is a masterful opera of discomfort and hurt feelings.
  3. Leave it to writer, director, and professional expectation-defier Charlie Kaufman to make existential angst so completely delightful.
  4. Few films are ever as enjoyable and endearing as Sing Street.
  5. This is that rare film that has the power to transform, to shake one’s belief system so thoroughly that one feels like a slightly different person walking out of the theater.
  6. Not only has George Miller made an effective return to the wasteland of the Mad Max universe with Mad Max: Fury Road, he has surpassed most action films released … well … ever.
  7. A cold, visceral, and overwhelming piece of cinema.
  8. Holy Hell ropes us in with tales of delusion before chilling us with tales of terror.
  9. Guided more by emotion and imagery than by any conventional plot, A Bigger Splash is a wicked, mysterious, ceaselessly sexy, and experiential carnal summer whirl.
  10. The Invitation is supremely well-crafted.
  11. The Lure somehow manages to seamlessly assemble a film equal parts hilarious, affecting, and grisly while trading and warping aesthetics and tones by the scene.
  12. The film possesses a quiet, considered tension that draws the viewer in.
  13. Arnaud Desplechin delivers a thrilling reminiscence that romanticizes and believes in youth’s ungraceful but intense splendors.
  14. The Birth of a Nation is one of the most confident writing and directorial debuts in recent memory.
  15. This is a film about sisters, yes, but also the identity we all must forge independent of our families, and the pain that comes with outgrowing the innocence that once defined our sibling bonds.
  16. The Iranian filmmaker wisely uses the genre to work through themes of oppression, rebellion, and femininity without ever politicizing the film. This is prestige horror, the kind with tricks and treats that arrive with purpose and linger for years.
  17. It’s a warmly empathetic documentary, the kind that simply observes instead of attempting to sound one kind of rallying cry or another.
  18. In the end, it’s not Weiner with whom you’re furious, but a media climate that routinely prioritizes scandal and lewdness over the intricacies of a candidate’s platform. With the circus that is our forthcoming election rapidly approaching, this message is all the more resonant.
  19. Born to Be Blue serves as an honest and heartfelt ode to not only Chet Baker, but those who revel in the occasional highs and neverending lows that overwhelm the pursuit of art.
  20. At times, László Nemes’ film induces the sensation of drowning, slowly. Not the kind where you’re pulled under by the riptide, but the kind where you’ve been treading water for so long that the body starts to betray you in tiny increments, and any life preserver must be met with utter desperation.
  21. Nuts! manages to create a fascinating, thrilling portrait of the weirdness of industrial-age America that’s as side-splitting as it is deeply haunting.
  22. Approach 10 Cloverfield Lane on its own terms, let Trachtenberg and his top-notch cast (Mary Elizabeth Winstead, John Gallagher Jr., and a ferocious John Goodman) yank you into their world, and try not to sweat through your clothes.
  23. Hush‘s madman makes himself visible and vocal to his prey from the get-go. As a result, Flanagan and Siegel both get to lay their cards on the table early, freeing up their characters to focus solely on how to outsmart one another.
  24. Pixar’s latest has all the sweet, ricochet-fast humor of the original, the same brilliant animation and rich color, the same winning performances (complete with a few new scene-stealers), and the same simple, staggering emotional intelligence of its predecessor.
  25. The execution of this story is almost uniformly perfect. Haigh’s script and direction are a clinic in careful and measured storytelling, favoring a delicate and devastating slow burn of a narrative over big dramatic moments and outbursts.
  26. Perhaps the film’s most striking quality is its restraint. Thematically and stylistically, it’s a film of quiet medium shots, long takes, and clear but evasive words. Every choice is tiny, but humane and usually deliberate.
  27. Unlike in some of the filmmaker’s past work, however, Youth foregrounds the performance over the spectacle; Keitel turns in some of his finest work in years as the aging, fiery Mick, and Caine delivers a performance composed of untold multitudes.
  28. This is a film predicated on voyeurism, and while it’s arguably another big ol’ starefest from Refn, the viewer’s patience is earned with unquestionable tension made all the more palpable by its troubled protagonist.
  29. The plot unravels beautifully, at a pace that’s methodical but still anxiety-inducing, building up an air of psychological fear so impenetrable that the only relief from it is an occasional splattering of visceral horror or an even more rare quip along the way.
  30. It’s quiet and strange and simple. It’s also unforgettable, in ways that can be easily named and in others that can’t.

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