Consequence of Sound's Scores

For 334 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Logan
Lowest review score: 0 Bad Santa 2
Score distribution:
  1. Negative: 48 out of 334
334 movie reviews
  1. For a film designed to spawn ancilliary products and sequels, Pets is not entirely without its charms
  2. Miss Sloane is a smart, thorough film about a rare subject that is also as breathless, broad, and crowd-pleasing as your standard Grisham thriller.
  3. 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.
  4. It falls short of an instant classic. It’s not a mind blowing achievement in horror. But The Witch is a solidly good film.
  5. TrumpLand is a valuable film for the open-minded, undecided voter, or those who can’t seem to reconcile their seeming dislike for Clinton with a vote for her; an extended rant on likability in politics is especially effective.
  6. The problem is that, for all of its cinematic merits, there’s something strange about this particular vampiric parable.
  7. Louder Than Bombs is a ghost story disguised as a domestic drama.
  8. Despite its flaws, the film still manages to win you over, even if it never actually surprises you, making it quite an assured debut.
  9. Kill Your Friends is effective and enjoyable in the way that dusty music compilations are.
  10. 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.
  11. What writer and director Kerem Sanga captures so well in First Girl I Loved is high school. What he captures even better is falling in love, or the naïve idea of what it means to be in love as a teenager.
  12. Posthumous still manages to charm more often than it disappoints.
  13. Grimsby’s provocative, but not stupid. It knows what kind of humor it wants to achieve, and often scores big.
  14. Snowden is a film of sincere outrage, even when it strains to articulate that outrage in a less from-the-headlines manner.
  15. 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.
  16. The Monster is worth watching for Kazan and Ballentine.
  17. McDonagh seems to have more to say in this film, but it’s lost among the narrative and stylistic inconsistencies.
  18. 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.
  19. 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.
  20. This Ben-Hur is closer to an ‘80s actioner about two men who once loved each other parting ways, only to reunite and settle their differences through vicious means.
  21. 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.
  22. The film’s belief in and commitment to the simplicity of its premise takes it a lot farther than it might otherwise go.
  23. 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.
  24. 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.
  25. 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.
  26. A comedy of manners and femininity gets bisected by gnarly effects, and the two-tone approach works in its way.
  27. The more affecting moments in Sully come when the film puts aside its posturing and really examines what it is to be heroic in a cynical age.
  28. 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.
  29. 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.
  30. What really hurts the film is its messy screenplay and boilerplate direction.

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