Film Threat's Scores

  • Movies
For 2,426 reviews, this publication has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Our Father
Lowest review score: 0 Cry_Wolf
Score distribution:
2426 movie reviews
    • 92 Metascore
    • 60 Critic Score
    The Class is a one-trick show: once you spot its approach, the narrative falls into a routine. To the "nsiders," the film is as familiar as an an aerial virtual reality ride would be to an airplane pilot. (This is hardly a surprise, since Bégaudeau was himself once an insider, though now safe in a film critic's chair.)
  1. Achieves the impossible in taking a genuine socio-political tragedy and turning it into an anvil drama which will fray the patience of the most sympathetic audiences.
  2. The story itself holds up fairly well though, twenty years later, does come off as thinner than I recalled. [2002 re-release]
  3. After four Pixar features under their belts, it is painfully easy to see the clichés emerging.
  4. Portraying the same 1945 confrontation from the vantage point of the Japanese was an inspired idea. Unfortunately, the movie it inspired is something of a letdown.
    • 88 Metascore
    • 60 Critic Score
    The story is set in real world Mexico, not a cleaned-up movie world simulacrum.
    • 88 Metascore
    • 50 Critic Score
    After a strong takeoff, the film lands on dead grounds.
  5. This much-ballyhooed gay cowboy melodrama is an inert disappointment.
  6. A courageous film, especially from a first-time director, and deserves all the audience support it can attract. It’s a People Story, and it’s About Something. However, it’s also something of a heavy sit.
  7. At the risk of being called an anti-Semite, I would like to propose a moratorium on Holocaust movies -- While it would be crass to discount the importance of the subject, at the same time one has to admit there is some degree of excess going on here.
  8. This is a curious example of taking a hair-raising story and draining the drama from every corner, leaving it a bit flat and ultimately forgettable.
  9. The truth is About Schmidt offers only the sporadic laugh, the less frequent original cultural insight and, at best, a craftsmanlike performance from its aging headliner. The truth is there are long stretches in the picture that are unequivocally dull.
    • 85 Metascore
    • 40 Critic Score
    Imagine if the team that made "The English Patient" tried to make the same kind of movie, with even more brave-lads-fighting-the-Jerries porn and this time with Extra Added English country manor porn, and without really good actors, and this movie is what you’d have.
    • 84 Metascore
    • 50 Critic Score
    The movie is quiet and minimal in its dialogue, and it has flashes of humor and thoughtfulness. However, it's also unbearably slow and hard to empathize with Mikey when we don't really know what his problem is.
  10. At the end of the day, though, this is Charlie Kaufman's movie and I'm not sure he proves quite the visionary puppetmaster many in the media are making him out to be.
  11. A silly comic book movie with provocative psychological overtones. Or a provocative character study with silly comic book overtones. Take your pick. Either way, it's hardly the cinematic milestone it's widely hailed as being.
  12. The chief triumph here, it seems to me though, is one of style over substance. The disaffected kids who shuffle through its universe have nothing to say, nothing to tell us. I’m not sure the movie has a whole lot more.
  13. Duvall chews up the scenery with smoldering, fire-and-brimstone orations.
    • 83 Metascore
    • 60 Critic Score
    “Volume Two” is what they call a movie-lover’s movie, in that it’s replete with references to just about everything a cinema geek would appreciate.
  14. The film's screenplay is thick with major lapses in logic, resulting in a story that ultimately makes little sense.
  15. Anyone who loves rock music will appreciate the script's insights into the form and its history.
  16. If my moviegoing experience was magical in any way, it was only in that I once or twice nodded off for a spell.
    • 82 Metascore
    • 60 Critic Score
    With exceptional performances and extraordinary imagery, Zvyagintsev has fashioned a remarkable first feature.
  17. A stirring and touching production, and it is difficult not to be moved by the women’s medical progress. However, it suffers from a somewhat leisurely pacing.
  18. Details like period fashion and album covers are handled flawlessly. It's the big stuff that falls short of the standard set by this troupe. A Mighty Wind is good for an occasional laugh but you're not likely to be blown away.
    • 81 Metascore
    • 60 Critic Score
    Masterpieces of literature-to-film are a rare breed; this film falls short with satisfaction.
    • 81 Metascore
    • 50 Critic Score
    As promising as the premise sounds, it cannot rise from the mundane.
    • 81 Metascore
    • 50 Critic Score
    This very conventional PBS style videodoc should not be viewed before operating heavy machinery. However, there's plenty to fascinate devotees of the dance.
    • 81 Metascore
    • 50 Critic Score
    Boorman’s movies are usually about the repercussions of violence (Point Blank, Deliverance, Excalibur, etc.) but he recreates Cahill as something of a victim of circumstance. Cahill should have been played by Lee Marvin, not by some fat teddy bear of a man like Brendan Gleeson. It’s too bad Marvin isn’t still around, to at least knock some sense into his old friend, Boorman.
  19. One of the oddest and surely the longest cinematic experiences you may ever encounter.

Top Trailers