Consequence of Sound's Scores

For 346 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 Sicario
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Negative: 49 out of 346
346 movie reviews
  1. The chief appeal of Gans’ Beauty and the Beast is its sumptuous, ornate production and costume design, and the flamboyant glee with which Gans’ camera captures it all.
  2. It’s all too calculated to really have an impact, to grant audiences an honest chance for catharsis.
  3. 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.
  4. XX
    XX is a horror anthology more admirable for its intent and concept than for its execution.
  5. 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.
  6. 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.
  7. 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.
    • 53 Metascore
    • 42 Critic Score
    Don’t let Billy Lynn’s Long Halftime Walk‘s technical achievements carry the full weight of its errors. The plot and its poor execution leave the camerawork struggling to find much to dazzle with.
  8. 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.
  9. 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.
  10. 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.
  11. The Circle aims for slow-building dread, but Ponsoldt’s direction and the script are both so uncharacteristically stiff that the film’s tone never solidifies.
  12. 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.
  13. It’s a frustrating experience; a lot of the individual gags work quite well, but they never build to anything cohesive.
  14. 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.
  15. In its unwillingness to settle on a singular approach, Live By Night undercuts the things that occasionally do work, and leaves it a film in search of a grander purpose.
  16. There’s a laziness to The Road Chip, what with its mostly stale or needy jokes and cutesy plotting.
  17. Put simply, Song to Song lacks the soul of Malick’s best work.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. Although it’s by far the weakest of the three, there are some genuinely creative moments that spark the brain and fry the hairs.
  24. It’s visually sumptuous, a heady blend of Burton’s usual broken-doll aesthetic and some seriously impressive visual effects. And most importantly, while long, it’s rarely boring. The bad: It simply doesn’t add up to much.
  25. 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.
  26. The film’s flaws aside (those will come later), Blunt’s performance is a hell of a thing, wholly lacking in vanity and brimming with honest, ugly feeling.
  27. 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.
  28. It’s so spectacularly inept, at so many different points, that it’s hard to imagine anybody will be able to forget it. It’s not a good movie by any stretch of the imagination, but it’s the kind of bad movie that audiences with the taste for that kind of thing will eat up by the spoonful.
  29. 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.

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