Consequence of Sound's Scores

For 194 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 0.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Love & Friendship
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Negative: 30 out of 194
194 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. A simple story told well can still be effective if the emotional resonance underneath it comes through. In Kubo, it absolutely does, thanks to the uniformly excellent voice performances.
  15. The Birth of a Nation is one of the most confident writing and directorial debuts in recent memory.
  16. 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.
  17. 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.
  18. It’s a warmly empathetic documentary, the kind that simply observes instead of attempting to sound one kind of rallying cry or another.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. The middle school dialect takes a backseat to the ingenuity on hand. It’s quite clear that the masterminds behind Sausage Party really thought this one out, examining this world long enough to have the most fun in it.
  28. 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.
  29. 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.
  30. 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.
  31. 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.
  32. It’s quiet and strange and simple. It’s also unforgettable, in ways that can be easily named and in others that can’t.
  33. It’s a marvel of filmmaking created from nothing (and one of the more meaningful uses of 3D in recent memory as well), and Favreau stages one scenic tableau after the next with uncommon skill.
  34. The Nice Guys spends nearly two hours treating Crowe and Gosling like a pair of piñatas, beating them mercilessly and unapologetically, and it’s watching them crawl out from underneath and towards some form of redemption that makes the film a genuine smash.
  35. Star Trek Beyond is a vast improvement from the sloppy Into Darkness, bringing it on par with the excellent ’09 reboot in terms of sheer quality and chemistry.
  36. 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.
  37. Last Days in the Desert explores Jesus in his most mortal phase, and McGregor’s exhausted performance is essential to its success.
  38. Goat deals with masculinity, fraternities, and PTSD in equal doses, covering all of them with brutal precision and most importantly, success.
  39. On the whole, High-Rise hits more often than it misses. It’s a playfully demented and dry evisceration of the tenuous hold that modern western civilization has on civility, walking a fine line between the best genre horror and the loftiest of intellectual indie cinema.
  40. Phoenix is a death-defying melodrama of rare emotional obsession.
  41. Little Men is a summer breeze, with rich melodrama and an easygoing mood, built up around two great kids and their troubled families that says more than any after-school special. It’s an episode of actual experience, presented in lovingly natural, minimalist strokes.
  42. Filmmaking this fresh, this vibrant, and this affecting for all ages is rare these days.
  43. Wrona’s near-flawless execution serves up a terror that’s enlightening and paralyzing all the same.
  44. There are a couple hiccups that prevent the movie from elevating to the classic status of your Reservoir Dogs or Pulp Fictions.
  45. Sisters is made of pure, frenzied comic momentum.
  46. 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.
  47. At times amusing, at others analytical, De Palma is both an homage and a lecture.
  48. If Jones can move from mortal woman to musical superhero in the space of a few moments, if she can convert the despair within her ravaged body into energy, then so can the rest of us in our times of weakness.
  49. 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.
  50. A rich, complex drama that’s as much about consequence and justification as it is destiny.
  51. By firmly rooting all of the film’s sprawling drama in a singular conflict, directors Joe and Anthony Russo manage to do what many superhero films have struggled with in recent years: find a truly effective reason to pit superpower against superpower.
  52. The way Lowery observes Pete and Elliot’s relationship with nominal dialogue is beautiful. While it’s easy to deride the remake as commercially conceived, the film still feels as rare as the dragon it depicts, wholesome and heartfelt.
  53. Tickled unfolds like a bad drug trip, starting off with giggles but quickly descending into surreal horror.
  54. 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.
  55. The way Right Now, Wrong Then yields different results, moods, and beats as the result of minor shake-ups in the opening scenes is beyond fascinating, often charming, and at times amusingly uncomfortable.
  56. Much like the characters themselves, all of these off-kilter and seemingly disparate elements come together far better than they should and something just a little beautiful happens as a result.
  57. a great deal of Café Society is shaggy and unfocused, it’s at least pleasing in its shapelessness. Café Society is not quite one of Woody Allen’s best, but it’s good enough to make you hope that he never leaves old Hollywood. The era suits him.
  58. It isn’t the gritty, realistic portrayal of life on the streets that Caple might have been going for — he’s too poetic a filmmaker for that — but it lends shape and color to a truth that too many inner-city kids know too well: It doesn’t matter if you care about the future. The future doesn’t give a shit about you.
  59. Central Intelligence is genuinely funny, intriguingly plotted, and quite frankly one of the biggest surprises of the year.
  60. Only in its final stretch does Midnight Special start to lose its distinct identity.
  61. It’s a film with no easy answers, and rightly, Hood doesn’t strain to offer them. If the film’s attempts at barbed satire don’t land as well as its graver moments, it’s nevertheless an effective look at the new kind of war.
  62. Rabe’s performance here is nothing short of stunning.
  63. 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.
  64. Southside with You is a rewarding bite-sized drama, rich with characters who we already know, but also don’t really know.
  65. This is the kind of film that follows you home, that makes you scared to enter a dark alley or go in the basement.
  66. 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.
  67. Paul Feig’s Ghostbusters is sturdy summer entertainment, at once a freaky comedy and an unexpectedly effective action film.
  68. 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.
  69. There are moments of true terror to be found among the silence and the encroaching existential dread in which the film deals most prominently.
  70. 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.
  71. Indignation resonates at times with the tension of things said and unsaid, regretted and forgotten.
  72. What unfolds is a transparent example of why the music industry continues to spiral downward toward a fiery hell.
  73. 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.
  74. The combination of Schoenaerts’ intensely brutish, sensitive performance and Winocour’s singular dedication to tension gives Disorder plenty to offer.
  75. 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.
  76. Frank and Lola is an electric modern noir that thrives from indelible characters and a palatable style.
  77. 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.
  78. 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.
  79. 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.
  80. It’s a feel-good story enlivened by the fact that there’s no overly sentimentalized hokum to be found.
  81. 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.
  82. Frenzied, kinetic filmmaking is hit or miss, but The Daniels are showcasing their talents as opposed to showing off.
  83. 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.
  84. Raiders!, as a documentary, is much like Zala and Strompolos’ film in that it’s rough around the edges at points, but so utterly sincere that it’s hard to deny after a while.
  85. 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.
  86. Elvis & Nixon will not go down as the best movie you’ll see this year, but it very well may be among the most purely entertaining.
  87. 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.
  88. 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.
  89. Keanu gets a lot of things right, and almost just as many things wrong. Still, there’s absolutely enough here to make it worthwhile, especially if you’re a Key and Peele fan.
  90. 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.
  91. Here’s a documentary with plenty of courage in its convictions, and a teachable exercise about modern health problems.
  92. King Cobra is a movie that’s just good enough to make you wish it were even better.
  93. If you want to see a nuts-and-bolts look into the banality of evil, with a curiously strong Daniel Radcliffe performance at the center, Imperium fits the bill.
  94. Fey delivers the performance like the super-capable talent she is, with range and authenticity. She’s a character with a fully expressed arc, foibles and all. She’s the dramedy’s best weapon.
  95. The Finest Hours is exactly that. Fine, while embracing its studio aesthetic and morally true heroism.
  96. Race is a film best enjoyed for its mild ambitions and accomplishments, which easily beat out its missteps.
  97. 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.
  98. Don’t Think Twice is a brisk, engaging watch. It’s sweet, it’s melancholy, and, perhaps most importantly, it’s hilarious. And despite the film’s soft teeth, it’s still the most honest and unfiltered exploration of improv comedy you’re likely to find out of Hollywood.
  99. Creative Control ably captures the entitled narcissism of modern Brooklyn twentysomethings by way of a plausible near-future,
  100. 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.
  101. For a film designed to spawn ancilliary products and sequels, Pets is not entirely without its charms
  102. 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.
  103. It falls short of an instant classic. It’s not a mind blowing achievement in horror. But The Witch is a solidly good film.
  104. Louder Than Bombs is a ghost story disguised as a domestic drama.
  105. Despite its flaws, the film still manages to win you over, even if it never actually surprises you, making it quite an assured debut.
  106. Kill Your Friends is effective and enjoyable in the way that dusty music compilations are.
  107. 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.
  108. Posthumous still manages to charm more often than it disappoints.
  109. Grimsby’s provocative, but not stupid. It knows what kind of humor it wants to achieve, and often scores big.
  110. 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.
  111. 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.
  112. 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.
  113. 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.
  114. 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.
  115. The film’s belief in and commitment to the simplicity of its premise takes it a lot farther than it might otherwise go.
  116. 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.
  117. 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.
  118. 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.
  119. A comedy of manners and femininity gets bisected by gnarly effects, and the two-tone approach works in its way.
  120. 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.
  121. 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.
  122. 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.
  123. There’s a same ol’, same ol’ wash to X-Men: Apocalypse that wasn’t quite as apparent in the previous two entries.
  124. Nerve is refreshing and frustrating in equal measures, mining a genuinely inventive concept for some memorable, Mean Girls-esque pathos about the ways in which the Internet is changing and magnifying social structures for young people today.
  125. The film starts to risk adrenaline fatigue after the first hour.
  126. A lot of fandom went into this, but Popstar is relentless to the point where it eventually becomes plodding.
  127. There’s just not a lot of weight to this sequel, at least not enough to dissuade anyone from seeing this as anything but a limpid cash grab.
  128. 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.
  129. "Jane" eventually comes alive, even if Jane never truly does.
  130. 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.
  131. 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.
  132. It’s a shame, given all of the film’s strengths, that Dheepan takes such a precipitous nosedive in its final act.
  133. It’s great when a film leaves you wanting more, but not when you weren’t given much to begin with.
  134. 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.
  135. Animal shelter/prison facility parallels become too heavy-handed, and performances packed with emotion give way to on-the-lam clichés.
    • 76 Metascore
    • 50 Critic Score
    The script, although endearing, is too poorly edited to lift its quirks to the next level, no matter how many stars show up for roll call.
  136. If Lucas and Moore do their six stars...a disservice with their muddy script, it’s nothing compared to the problems heaped upon the film by their direction.
  137. Rio, I Love You is worth a passing look for its pot of talent.
  138. 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.
  139. There are plenty of fantastic films with Christian messages, but Miracles From Heaven is more interested in simplistic proselytizing to a heavily evangelical market that just wants their own existing beliefs confirmed. This is what makes the film so frustrating to watch; for the vast majority of its runtime, it’s essentially a good (if not great) family drama.
  140. 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.
  141. It should be impossible to turn this kind of raw material into such an interminable slog, and yet somehow writer and director Marc Abraham...managed to do just that.
  142. 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.
  143. The direction and editing are slick and workmanlike, letting the performers do the work without overplaying the limited setting in which most of the film takes place.
  144. On top of trying to be a Big, Important Film, Jones is also meant to be a showcase for McConaughey’s post-Oscar relevance as a dramatic actor, and he turns in a solid but unmemorable lead performance.
  145. Tarzan is too dull to offer consistent pulp excitement, too self-serious to let itself have fun, and too reliant on same-y CG spectacle to truly thrill.
  146. It’s all too calculated to really have an impact, to grant audiences an honest chance for catharsis.
  147. The Hollars deals in weighty personal tragedies, and yet neither the treacly, offbeat humor nor the moments of more straightforward pathos tend to work for any real length of time.
  148. There is an unpredictability to the film that is, at times, refreshing. This unpredictability turns into meandering, however, leading to narrative incoherence at many points.
  149. Farahani is quite liberal crosscutting between the story’s varying point of views.... This manic style offers the film all of the necessary intrigue to make its story captivating, but it’s at the expense of being incredibly manipulative to its audience.
  150. The film’s most poignant moment comes in an interview that took place near the end of Zappa’s life. He’s asked how he wants to be remembered, and he responds, “I don’t care.” That doesn’t mean we don’t care, or that we aren’t allowed to care, but this isn’t the film to make us do it.
  151. Where the sequel falters is where its uneven predecessor, which is both less ambitious and undeniably funnier, excels: its ostensible villains just aren’t very interesting.
  152. My Big Fat Greek Wedding 2 is about as unmemorable a movie as you’ll find in 2016. Everything about it, from Vardalos’ screenplay to the limp retreads of the first Greek Wedding’s better moments, stinks of an extended HBO special that somehow made its way to theaters.
  153. As a comedian, Gervais hardly lacks a sharp perspective. The Office showed him to be a merciless satirist of workplace culture. But when it comes to international politics, the comedian lacks the keen insight to say anything that hasn’t already been said by other filmmakers.
  154. Batman v Superman: Dawn of Justice isn’t a film. It’s a two-and-a-half-hour movie trailer. Better yet, it’s one of those videos that pop up on screens before a ride at Universal Studios, where all the actors speak to you and keep hinting at bigger things to come — you know, like a ride? Basically, it’s everything the SEO-friendly title promises — and more.
  155. It’s a frustrating experience; a lot of the individual gags work quite well, but they never build to anything cohesive.
  156. Parents will nap, some kids will be amused, and the nerdiest viewers will have good reason to point out flaws in the movie’s not-so-intelligent designs.
  157. There’s a laziness to The Road Chip, what with its mostly stale or needy jokes and cutesy plotting.
  158. It’s a classic case of sequel bloat, a film that seems to exist less because of any extended story it wants or needs to tell than because it must repackage something that was once popular.
  159. 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.
  160. Captain Fantastic loses its intriguing premise in a muddle of ideas about the redemptive power of family and the right of all people to live as they please.
  161. 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.
  162. 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.
  163. For all of the film’s nonstop, aggressive insistence on its subversive qualities, it’s about as radical and unconventional as a teenager buying a Leftover Crack shirt with their mom’s credit card from Amazon.
  164. When it comes to video games, fidelity to the source material only gets you so far, especially when the source material is as low-impact as Ratchet & Clank.
  165. To his credit, Green makes great use of wide-angle photography so the action feels comprehensible, with surprisingly long shots and effective editing. It’s just a shame the director’s talents are wasted on this brand-stamped mess.
  166. Mechanic: Resurrection plays in an uncommonly generic key, and the film only makes intermittent attempts to enliven the proceedings.
  167. Marlon Wayans is clearly getting off on the gags, but the lazy, hard humor, and elastic joke-making eventually has a numbing effect.
  168. The Do-Over isn’t Sandler at his best, but it’s also not quite as putrid as what we’ve come to expect from him lately.
  169. Jump scares are all Sandberg seems to have in his bag of tricks, and each is clunkily executed and met with an agonizing, ear-piercing shriek. Watching Lights Out is like standing next to an idiot with an air horn, never quite knowing when it’s about to blow in your ear. It’s a far cry from the freaky grace of his short.
  170. The film’s script is designed to constantly flatter the sensibilities of its target audience, which is a nice enough goal, but it never seems to reflect the way that people actually speak, think, or behave. At best it’s corny, and at its worst it’s actively offensive.
  171. Gods of Egypt is a dull, meandering, plastic mess of pre-2002 CGI and performances as flat as the green screens behind them.
  172. Jones slaves to make something of the material, and to his credit, or rather his profoundly large cast and crew’s credit, the craft is certainly visible in Warcraft. It feels rude not to compliment the hard work of the makeup, costume, production design, and visual effects teams.
  173. 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.
  174. It should come as no surprise that The Angry Birds Movie is a loud and dumb children’s film, but for what it’s worth, there are plenty of cinematic commercial ventures that are louder and dumber and so on than the well-meaning and slickly sold Birds.
  175. 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.
  176. 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.
  177. It’s slick and stylish to the point of distraction. This isn’t horror; this is exaggerated carnival fare.
  178. Given the absurdity of the premise, Cell isn’t nearly as luridly entertaining as it should be.
  179. The Bronze is so satisfied with its own winking crassness that it lets epithets constitute everything it has to say. Between that and the film’s scene-by-scene tonal shifts, what could’ve been an off-kilter curiosity curdles into a dull roar of disappointment.
  180. 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.
  181. A curiously loud and ugly beast of a sequel.
  182. Which is why Antibirth feels more like an anti-film, a piss-poor assembly of remarkable cult actors and brazen narratives that start off divorced without ever being married.
  183. 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.
  184. London Has Fallen is terrorism porn, an alarmist, jingoistic piece of CGI-soaked garbage that implores its audience to fear nothing after sensationalizing the slaughter of innocents and the destruction of a major city.
  185. There is a tone of anger that sneaks out of the film in even its moments of levity.
  186. 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.
  187. While Plummer tries his damnedest to anchor Remember in the high drama to which it aspires, Egoyan’s latest is best forgotten.
  188. It’s vacuous, ugly, unfunny, and, somehow, not a satire. It might be the worst movie of the year.
  189. Zoolander No. 2 invokes that old Simpsons headline: “old man yells at modern culture.”
  190. There’s nothing wrong with melodrama. But in order to break the dishes, movies have to be willing to build tension by holding something back. Mr. Church, however, is all reveal, constantly giving everything away in the most obvious fashion.
  191. 31
    It’s an unnecessary, monotonous, 102-minute scrapbook of better horror films that fails to muster even a spark of originality.
  192. Hillary’s America is repugnant, and while it exists to get people who stand against it yelled at as much as anything, it’s essential that D’Souza not simply be written off as a hack pandering to a willing and lucrative audience regardless of the moral implications, though he is. D’Souza peddles the kind of “media” that’s become cancerous to the country he unyieldingly purports to worship.
  193. 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.

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