Consequence of Sound's Scores

For 345 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Toni Erdmann
Lowest review score: 0 Bad Santa 2
Score distribution:
  1. Negative: 49 out of 345
345 movie reviews
  1. Southside with You is a rewarding bite-sized drama, rich with characters who we already know, but also don’t really know.
  2. This is the kind of film that follows you home, that makes you scared to enter a dark alley or go in the basement.
  3. Even allowing for its recognizable traits, Moana is as much a treat to watch as any recent Disney outing.
  4. There’s a depth to the city that shows how far the form has come in a short time, and Zootopia is better off for it, especially when it still ultimately doesn’t break away from the familiar Disney formula as much as some of the studio’s other recent films have managed.
  5. Paul Feig’s Ghostbusters is sturdy summer entertainment, at once a freaky comedy and an unexpectedly effective action film.
  6. Furman’s film paints in various shades of gray as opposed to the blacks and whites typical to this genre, and for that he and Cranston deserve praise.
  7. What’s clear in Perkins’ second feature is that he’s clearly become aware that his talents as a visual storyteller outweigh his skill with narrative. He’s leaning into that, and while it might make for a more “difficult” film, it’s ultimately a more satisfying one.
  8. There are moments of true terror to be found among the silence and the encroaching existential dread in which the film deals most prominently.
  9. Equals is composed of small, sensual moments which build to a climax that feels both gut-wrenching and potently universal, like an old torch song to which you already know all the words.
  10. Indignation resonates at times with the tension of things said and unsaid, regretted and forgotten.
  11. What unfolds is a transparent example of why the music industry continues to spiral downward toward a fiery hell.
  12. You’ll laugh, you’ll cringe, you’ll wince, and you’ll sigh. Such is the genius of Wiener-Dog, and of Solondz, and why he remains a reliable visionary.
  13. The combination of Schoenaerts’ intensely brutish, sensitive performance and Winocour’s singular dedication to tension gives Disorder plenty to offer.
  14. For a film where not much ultimately happens, per se, Cronies is a thoughtful reflection on nostalgia and how the sins of the past affect the present.
  15. Frank and Lola is an electric modern noir that thrives from indelible characters and a palatable style.
  16. Fuqua isn’t interested in pushing the genre forward so much as respecting and updating the model accordingly. The director focuses on establishing his gang of gunslingers sturdily enough that the action becomes easy to engage with, and even get excited about.
  17. The film’s comical bluntness could also be construed as off putting, but to criticize that is to deprive yourself the joy of such pulp. And this is pulp, from the brazenness of its violence to the dull bite of its clunky dialogue. What Election Year offers isn’t nuanced satire, but rather a kind of catharsis, a release that’s not so far off from what the Purge itself purports to provide.
  18. It’s not exactly the repeat masterpiece of yesteryear, but that was never going to happen. Instead, it’s a proper and agreeable reunion for fans who grew up, but still have that hungry desire to toss aside reality and enjoy a little unadulterated fun.
  19. Hughes has seen his fair share of dramatizations on film (The Aviator, Melvin & Howard, The Hoax, even The Rocketeer), but Beatty delivers a fresh, idiosyncratic take, about the figure and the people in his orbit of oddity.
  20. Johnson, being a primary voice behind some of this century’s most important documentaries, is a particularly qualified candidate to chronicle life in this way, and her greatest feat, one I can’t imagine anyone else achieving, is her ability to tell the story of her life without ever once talking about herself.
  21. Flanagan’s scares are so precise, so exquisitely timed, that they’re able to imprint the mind as much as quicken the pulse.
  22. The Edge of Seventeen has more than enough earnestness of heart to make up for its structural shortcomings. It’s a teen film with an uncommonly honest ear for interactions.
  23. Poekel and Audley keep exposition to a minimum, allowing the truth behind Noel’s breakup to emerge organically, in the weight of an object or his reaction to a beaming couple. It’s elegant filmmaking, seamless in its storytelling.
  24. Always Shine is a fantastic thriller for two-thirds of its runtime, ending with a ballsy third act as admirable in its ambition as it is narratively frustrating.
  25. It’s a feel-good story enlivened by the fact that there’s no overly sentimentalized hokum to be found.
  26. Perhaps the most satisfying thing about the film is what comes after, when you stop to realize how darkly comic and sickly fun the film was after you’re done reeling from all the impaling and dismemberment.
  27. Abrams and Kasdan’s respective humor and pathos push the characters beyond some of the more rote and redundant storytelling. So while it’s not always compelling, it’s always fun.
  28. If you’re looking for a reinvention of the biopic formula, there are plenty of films this season to set you up. If you think there’s still room for the traditional ‘true-story’ drama, Lion proves these stories still have a little life left in them.
  29. Frenzied, kinetic filmmaking is hit or miss, but The Daniels are showcasing their talents as opposed to showing off.
  30. The Meddler is a delightful film with an emotional honesty that can be traced back to the real-life mother of writer/director Lorene Scafaria. Perhaps if Scafaria trusted the strength of that truth an inch or two more, it would be enough to avoid distractions along the way.

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