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 Love & Friendship
Lowest review score: 0 Bad Santa 2
Score distribution:
  1. Negative: 49 out of 345
345 movie reviews
  1. "Jane" eventually comes alive, even if Jane never truly does.
  2. 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.
  3. Too often Girlfriend’s Day feels like it’s making things up as it goes along, unafraid to introduce another contrived plot device because there are no real rules preventing it from doing so.
  4. For Yimou’s colors alone, and one particularly striking set piece set in a kaleidoscopic stained-glass tower, The Great Wall may be worth the price of admission.
  5. 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.
  6. The movie is like a second verse, sung a little louder and just a little bit worse.
  7. Even as Fate has its fun and chases its highs (a few of which are pretty satisfying), it’s hard to shake the growing sensation that the bloom might be coming off the rose.
  8. It’s a shame, given all of the film’s strengths, that Dheepan takes such a precipitous nosedive in its final act.
  9. Patriots Day sits right on the line between exploitation and tribute. The star power is dicey, and the action relentless, but Berg means well and likes the people in his recount.
  10. It’s great when a film leaves you wanting more, but not when you weren’t given much to begin with.
  11. 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.
  12. 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.
  13. Lofty ideas of class, thwarted ambition, the superficiality of L.A. life, the nature of love, and the meaning of art are all explicitly addressed – and maybe discussed in a pretentious conversation or two – and then just as easily dropped, as if the simple act of naming themes is enough to establish their continued relevance in the film.
  14. 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.
  15. It’s two solid hours of disposable, forgettable action-thriller filmmaking with a competent Cruise performance in the middle.
  16. Rio, I Love You is worth a passing look for its pot of talent.
  17. 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.
  18. Pet
    As hard as Pet tries to be something different, it still feels like a film about a woman in a dog cage.
  19. 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.
  20. 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.
  21. 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.
  22. A passion project from the sing-talk god David Byrne, Contemporary Color is a concert film, but a finicky one, unstable and unfocused.
  23. Any sense of mystery or suspense quickly dissipates as the film returns again and again to repetitive and terse exchanges between Claire and Allison, whose revelations aren’t as surprising as they’re probably intended to be.
  24. 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.
  25. 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.
  26. Inferno, much like its predecessors, simply can’t work its way out of the disappointing middle ground between a slick, technically competent thriller and tongue-in-cheek absurdity.
  27. 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.
  28. 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.
  29. If Julieta weren’t such a crushing bore, it might have been a lusty little delight.

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