Consequence of Sound's Scores

For 60 reviews, this publication has graded:
  • 48% higher than the average critic
  • 5% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Anomalisa
Lowest review score: 0 13 Hours: The Secret Soldiers of Benghazi
Score distribution:
  1. Positive: 36 out of 60
  2. Negative: 10 out of 60
60 movie reviews
  1. Leave it to writer, director, and professional expectation-defier Charlie Kaufman to make existential angst so completely delightful.
  2. A cold, visceral, and overwhelming piece of cinema.
  3. 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.
  4. The Birth of a Nation is one of the most confident writing and directorial debuts in recent memory.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Although it stumbles a bit at the end with a self-aware redemption that isn’t entirely earned or particularly in character, Diamond Tongues is still a brilliant and realistic portrait of the young artist as a bitter borderline failure.
  11. Goat deals with masculinity, fraternities, and PTSD in equal doses, covering all of them with brutal precision and most importantly, success.
  12. Phoenix is a death-defying melodrama of rare emotional obsession.
  13. There are a couple hiccups that prevent the movie from elevating to the classic status of your Reservoir Dogs or Pulp Fictions.
  14. Sisters is made of pure, frenzied comic momentum.
  15. The Greek filmmaker builds a stunning world with The Lobster, and much of its success stems from the inherent mechanics and the less-is-more storytelling that drops empty spaces for the mind to paint.
  16. If Lo and Behold is more just a collection of interviews on a series of themes than a cohesive piece of storytelling, it’s still a fascinating endeavor into how the Internet went from personal to unimaginably broad and how it could either continue to expand or perhaps even return to that infant phase again.
  17. As both an utterly mad true story and as a document of the boundless reach of the cinema across borders and cultures and even ideologies, The Lovers and the Despot is wild, valuable viewing for all.
  18. It’s an ode to this country’s oft-forgotten middle, where the struggle is, indeed, very real. As such, Certain Women is not always thrilling, but it’s certainly faithful.
  19. Southside with You is a rewarding bite-sized drama, rich with characters who we already know, but also don’t really know.
  20. There are moments of true terror to be found among the silence and the encroaching existential dread in which the film deals most prominently.
  21. Indignation resonates at times with the tension of things said and unsaid, regretted and forgotten.
  22. 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.
  23. 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.
  24. Frank and Lola is an electric modern noir that thrives from indelible characters and a palatable style.
  25. 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.
  26. 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.
  27. Frenzied, kinetic filmmaking is hit or miss, but The Daniels are showcasing their talents as opposed to showing off.
  28. It’s a very good op-ed in favor of America’s ability to live up to its potential and build itself into a country that actually represents the idea of liberty and equality that it’s espoused for so long. Thanks to the humor with which it’s presented, it’s also a pretty decent testament to the potential future of the country’s satire.
  29. At points the film simply observes the smaller, more innocuous moments of a coming-of-age story; much of it is framed in intimate medium shots and close-ups, and there’s a distinct kinship between the numerous wayward souls in its world that carries it along.
  30. It’s a fierce, visceral vision with a superb cast, that one suspects was more focused on pumping up Macbeth than reminding people why it’s such a lasting cautionary tale.
  31. Something’s missing in Complete Unknown, and it’s a spiritual issue. The problem is that for this situation, the unlikely reunion, a natural approach restricts any and all sensationalism, which is why the ending neither bruises nor squeezes — it just lingers.
  32. The Finest Hours is exactly that. Fine, while embracing its studio aesthetic and morally true heroism.
  33. A subplot and a longer-than-necessary runtime threaten to undercut Hall’s performance, but in the end the movie succeeds as a solid investigation into the day-to-day life of one suffering from depression.
  34. There’s a lot going on in Hail, Caesar!, but in the end, it’s all a bit too silly to register as important.... Nonetheless, Hail, Caesar! satisfies that one criterion that matters most in Hollywood, and will for time immemorial: it’s entertaining as hell.
  35. Despite its flaws, the film still manages to win you over, even if it never actually surprises you, making it quite an assured debut.
  36. 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.
  37. 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.
  38. 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.
  39. 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.
  40. A comedy of manners and femininity gets bisected by gnarly effects, and the two-tone approach works in its way.
  41. 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.
  42. "Jane" eventually comes alive, even if Jane never truly does.
  43. Animal shelter/prison facility parallels become too heavy-handed, and performances packed with emotion give way to on-the-lam clichés.
  44. Writer/director Josh Baena (Life After Beth) bookends Joshy with dark moments, and while the first works perfectly, the second threatens to unravel everything that comes before.
  45. It’s hard to imagine a movie much more aware of itself both as a movie and as a moment in a cultural progression of similar movies than Deadpool.
  46. Unfortunately, the reverence Howard and screenwriter Charles Leavitt seem to feel for the material ultimately dooms it to—if you’ll pardon the seafaring reference—float along in the doldrums, doomed to a driftless existence enlivened only by the occasional giant whale.
  47. There’s a laziness to The Road Chip, what with its mostly stale or needy jokes and cutesy plotting.
  48. It’s true that few movies are this aw-shucks nice these days, and for a short while The Fundamentals of Caring finds ways of retaining that kindness without lapsing into platitudes.
  49. Hart, the firecracker that he is, has a fitting comedic (and crime-fighting) partner out there somewhere. But it’s not in the Ride Along series.
  50. If for one second you forget the diverging script, the weak direction, and Efron’s limitations, there’s something to be amused by with De Niro’s flagrantly foul-mouthed, horned-up grandfather figure.
  51. Marlon Wayans is clearly getting off on the gags, but the lazy, hard humor, and elastic joke-making eventually has a numbing effect.
  52. Blakeson and screenwriters Susannah Grant, Akiva Goldsman, and Jeff Pinkner don’t seem to care much about telling the story. They’re just checking off the boxes.
  53. Concussion tries to “tell the truth!” but its filmmaker feels compelled to surround the truth with tales of a man whose life is just not that interesting.
  54. While Yoga Hosers continues Smith’s quest to push himself into increasingly strange and uncomfortable directions as a filmmaker, it’s either too derivative or too malformed to work the vast majority of the time.
  55. Don Verdean is the sort of comedy which presumes its own hilarity long before it gets around to telling any actual jokes, or staging anything that might otherwise be considered funny.
  56. Whatever you think about Adam Sandler right now, The Ridiculous 6 won’t change your mind. If you love him, you’ll love this; if you hate him, you’ll get plenty of ammo here.
  57. For a film that hinges so much on the chemistry and charm of its two leads, it’s tough to recommend The Choice on even those grounds.
  58. While Plummer tries his damnedest to anchor Remember in the high drama to which it aspires, Egoyan’s latest is best forgotten.
  59. Zoolander No. 2 invokes that old Simpsons headline: “old man yells at modern culture.”
  60. Shots are short, oddly made, and shoddily smashed together. There’s no spatial continuity, let alone consistency in time of day, or even a care for any kind of visual coherence. 13 Hours is just chaos. It’s unwatchable, unlikable, and unworthy of respect.

Top Trailers