Consequence of Sound's Scores

For 170 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Embrace of the Serpent
Lowest review score: 0 13 Hours: The Secret Soldiers of Benghazi
Score distribution:
  1. Positive: 98 out of 170
  2. Negative: 26 out of 170
170 movie reviews
  1. For a film designed to spawn ancilliary products and sequels, Pets is not entirely without its charms
  2. What’s most unfortunate is that The Family Fang leaves so many ideas on the table that would have made for a far more fascinating film, one befitting its unique premise.
  3. It falls short of an instant classic. It’s not a mind blowing achievement in horror. But The Witch is a solidly good film.
  4. Louder Than Bombs is a ghost story disguised as a domestic drama.
  5. Despite its flaws, the film still manages to win you over, even if it never actually surprises you, making it quite an assured debut.
  6. Kill Your Friends is effective and enjoyable in the way that dusty music compilations are.
  7. Much of Kate Plays Christine is more of a form exercise than it is a documentary portrait, which works to both the film’s benefit and detriment.
  8. Grimsby’s provocative, but not stupid. It knows what kind of humor it wants to achieve, and often scores big.
  9. A lot of it’s funny — especially any scenes involving Powell’s admittedly charming Finnegan or Hoechlin’s testy McReynolds– but hanging out with these guys eventually becomes a chore.
  10. In fits and starts, the film matches the fire of its lead performance. Miles Ahead is far from a traditional, boilerplate music biopic, for better and worse alike.
  11. The performances are so strong in Other People that they just about make up for the weak storytelling. Maybe “weak” isn’t the best definition for writer/director Chris Kelly’s debut feature film, but its structure definitely pales in comparison to all the effort given on screen.
  12. How To Be Single doesn’t break much at all in the way of new ground, but it’s a decent walk over well-trodden territory.
  13. The film’s belief in and commitment to the simplicity of its premise takes it a lot farther than it might otherwise go.
  14. Imagine all the best parts of E.T. (written, like this film, by the late Melissa Mathison) and all the worst parts of Hook, and you have a pretty solid picture of what it’s like to spend two hours with The BFG.
  15. To have seen a disaster movie before is to have seen The Wave. But if there’s not necessarily anything remarkable or new about the film, Uthaug finds ways to make the familiar immediate, with a fraction of the money usually involved.
  16. There’s a note of reflexive, self-aware irony to it, but portions of Knight of Cups feels as though they’re indulging in precisely this same kind of early-college navel-gazing.
  17. A comedy of manners and femininity gets bisected by gnarly effects, and the two-tone approach works in its way.
  18. Joy
    Here’s a film with all the right ingredients and a few too many wrong moves, yet one that’s admirable for trying as hard as it does.
  19. At its core, it’s a simple and triumphant tale of sisterhood, but with so much ladled on top of it it begins to feel as though it’s grasping for a grandeur it doesn’t need. Sometimes, even the most intense emotions can benefit from a light touch.
  20. After their muddled but well-meaning Tammy, McCarthy and her husband Ben Falcone’s follow up is a superior mix of jokes, to the point that even when the film misses its mark, McCarthy and her crew wheel and deal to the bitter end.
  21. There’s a same ol’, same ol’ wash to X-Men: Apocalypse that wasn’t quite as apparent in the previous two entries.
  22. The film starts to risk adrenaline fatigue after the first hour.
  23. A lot of fandom went into this, but Popstar is relentless to the point where it eventually becomes plodding.
  24. Brahman Naman is like a crispy Samosa with nothing at the center. The Netflix release, directed by Qaushiq Mukherjee, pays homage to American sex comedies from Porky’s and Revenge of the Nerds to There’s Something About Mary, but lacks the heart to go along with the excess of raunch.
  25. "Jane" eventually comes alive, even if Jane never truly does.
  26. Eddie the Eagle trips plenty, but Eddie, insufferable as he may be, represents the people that in spite of failure being visible at the bottom of a 90-meter ski drop, still take that leap.
  27. For a film that takes such pains to position itself within the feminist tradition, Belladonna of Sadness has a bad habit of lingering on the body of its protagonist, coming across as more pornographic than progressive, more exploitative than revolutionary.
  28. It’s a shame, given all of the film’s strengths, that Dheepan takes such a precipitous nosedive in its final act.
  29. It’s great when a film leaves you wanting more, but not when you weren’t given much to begin with.
  30. There are some marginal but still noticeable stylistic improvements in the sequel. John M. Chu (a veteran of music videos and Justin Bieber: Never Say Never) brings a peppy energy that Louis Leterrier’s first film lacked, especially when showing off the flashy spectacle of the Horsemen’s almost-superheroic magic abilities.

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