Film Threat's Scores

  • Movies
For 2,411 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 1.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Awesome; I Fuckin' Shot That!
Lowest review score: 0 Balls of Fury
Score distribution:
2,411 movie reviews
  1. One warning however: James Caan's shoulder hair, when seen on this size screen, may frighten children considerably (you'll at least want to discuss it openly after the show, answering any questions your kids may have in an honest and direct manner).
    • 98 Metascore
    • 90 Critic Score
    The action scenes are exciting, the fantasy scenes are creative and the war scenes are brutal.
  2. After half a century, does the story hold up? Eh, pretty much. In the end, the story doesn't really matter that much as this is really a vehicle for the amazing visuals.
  3. This is a tale of friendship, corruption, betrayal and desperation masterfully told without an ounce of filmmaking flash and with an unflinching commitment to realism.
  4. Stunningly animated, cleverly scripted, and genuinely humorous.
    • 94 Metascore
    • 70 Critic Score
    Complaints? Sure, I had a few: The liberal use of insta-sweat whenever the character in question is experiencing tension, Harvey's aforementioned accent, one over-used shot composition that places the action at a great distance with a giant-headed supporting actor in the extreme foreground. [Re-release]
  5. The story itself holds up fairly well though, twenty years later, does come off as thinner than I recalled.
  6. The first masterwork of the post-modern pop culture generation...gets better with every viewing, and like good rock n' roll, needs to be played loud!
    • 94 Metascore
    • 70 Critic Score
    There isn't really an overall arc present in Killer of Sheep, and that's the point. There's really nothing meant to be expressed in Killer of Sheep but the experience of poverty, and the inevitability of crime in the face of poverty.
    • 94 Metascore
    • 90 Critic Score
    Kathryn Bigelow's The Hurt Locker is a grinding, nightmarish machine.
  7. A thoroughly enjoyable film, and ranks with Pixar's best.
    • 94 Metascore
    • 90 Critic Score
    Alexander Payne is becoming one of the greatest American directors of modern cinema and again, Sideways is on its way to being one of the best films of the year.
  8. If The Return of the King was 2 1/2 hours long, it would have rocked. It would have been better than The Two Towers, which is the best film in the series.
    • 92 Metascore
    • 100 Critic Score
    Schnabel's film is so steeped in the visual that it is surely the purest of cinema.
    • 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.)
    • 92 Metascore
    • 100 Critic Score
    Masculine, Feminine could be viewed as Godard's reaction to his own success and the state of the world around him.
    • 92 Metascore
    • 100 Critic Score
    This may be an extremely bold statement to make, but there hasn’t been such an amazing character study in film since “Citizen Kane.” I honestly can’t praise it enough. From the opening to the ghastly ending, this film will sit in the depths of your stomach for some time to come.
  9. Probably the best comment I could give it is that after sitting through the first two and 1/2 hours, I would have happily sat through another five. How long am I going to have to wait for that DVD Box Set?
  10. 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.
    • 91 Metascore
    • 100 Critic Score
    This is quite possibly the best Canadian film of all time.
  11. Let's discuss those extra four minutes for a second, shall we? I found them incredibly distracting. [Special Edition]
  12. Breathtakingly inventive story.
    • tbd Metascore
    • 90 Critic Score
    There will definitely be a need to see it again after the first time, for the atmosphere, for Hoyle, for the theories, for the case, for everything offered and happily accepted.
    • 91 Metascore
    • 80 Critic Score
    The tragic, violent true-life tale that concerns Waltz with Bashir is rendered even more powerful in animated form than it would likely have in life-action.
    • 91 Metascore
    • 100 Critic Score
    A return to form for the Coen Brothers and, while I feel the film will annoy and frustrate the masses, it will be looked back upon as one of the truly great movies of the first part of this new decade.
  13. A gripping experience, and often downright sickening.
  14. After four Pixar features under their belts, it is painfully easy to see the clichés emerging.
    • 90 Metascore
    • 80 Critic Score
    The sequel is an uninterrupted 80-minute dialogue between two richly imagined and performed characters.
  15. The smart dialogue doesn't hurt, of course, and perhaps the best work is done by Bird himself, who provides the voice of Edna "E" Mode, superhero fashion designer.
    • 90 Metascore
    • 90 Critic Score
    Though it has many moments of sarcasm and humor, the overall tone, like the comics themselves, is a depressing one.
  16. We have an authentic Old Master working in our midst, and Gosford Park will at the very least remind everyone how masterful a helmsman Altman can be.
  17. You’re unlikely to come across a more powerful film this year.
  18. Whereas "Cuckoo’s Nest" is a brilliantly over-the-top accomplishment, The Passenger is more brilliant with the most effortless underplaying one can ever hope to witness on screen.
  19. The combination of pen, ink and geopolitical strife have yet to yield anything quite like it.
  20. There isn't another American screen actor who could have given this performance, not one who so deftly could have navigated the razor's edge separating the wiseacre and the wise.
    • 89 Metascore
    • 100 Critic Score
    von Donnersmarck creates a milieu so realistic that the attention-worthy setting becomes just a backdrop, while an intricate tale, as suspenseful as it is humanistic, takes over.
  21. Quite simply, House of Flying Daggers is a film that sets several new standards for production and entertainment values. It is a wild riot of color, music, passion, action, mystery, pure old-fashioned thrills and even dancing.
    • 89 Metascore
    • 80 Critic Score
    Pre the events of 9/11, the film might have simply been an entertaining, high risk tale of a death-defying feat related in both interviews, archival footage and photos and Marsh's usual meticulous and creative re-enactment vignettes. Post 9/11 you find yourself marveling that a man in far away France became smitten with the twin towers long before they became the target of terrorist attacks.
  22. Borat isn't just one of the funniest movies of the year, it might be one of the funniest movies of all time.
  23. No End In Sight is the most important film of the year thus far and, more significantly, the most comprehensive, clear-eyed account of the Iraq debacle and the arrogance behind it that we have.
    • 89 Metascore
    • 100 Critic Score
    Fresh, heartfelt and ultimately heartbreaking in its honest portrayal of a modern relationship.
  24. 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
    • 70 Critic Score
    A film of limited production values, a low-quality picture and the occasional flubbed camera move. But it makes up for these flaws with sharp observations, compelling characters and a great collection of music.
    • 88 Metascore
    • 100 Critic Score
    One of the most beautifully stark, yet provocative and powerful films of 2005 has to be Capote. Phillip Seymour Hoffman, who gives his finest screen performance to date, literally becomes Truman Capote through effete mannerism, nasaly voice & self-absorbed tone.
  25. This is brilliant filmmaking.
  26. Grade A propaganda of the first order.
    • 88 Metascore
    • 80 Critic Score
    Julie Christie gives a fabulous performance of mysterious, unclear depth as Fiona.
  27. There’s no question here that moviegoers will be treated to a completely enveloping, three-hour vacation from reality.
    • 88 Metascore
    • 50 Critic Score
    Up
    After a strong takeoff, the film lands on dead grounds.
    • 88 Metascore
    • 60 Critic Score
    The story is set in real world Mexico, not a cleaned-up movie world simulacrum.
  28. Clearly, Gomorrah is supposed to represent the best of today’s European cinema...and if this is the best, I would hate to imagine the worst! Gomorrah is a boring mess focusing on how the mob in today’s Naples has its tentacles stretched far and wide
  29. Maybe if PETA tried being funny instead of comparing eating meat to the Holocaust, they’d have a bigger following.
  30. Isn’t really about drugs. It’s about what motivates people to make hard choices. However, deciding whether or not to view this unique glimpse into a seldom seen world should be easy. It’s a must-see.
  31. Simultaneously offers priceless insight into the nation's past and a worrisome take on the future.
  32. This much-ballyhooed gay cowboy melodrama is an inert disappointment.
    • 87 Metascore
    • 80 Critic Score
    Murderball isn't a documentary played in the key of those Olympics stories that inspire you with sugary drivel, although it is ultimately inspiring.
  33. The results are by turns fascinating, horrifying, and maddening.
  34. Little more than a travelogue designed to show off the grandeur of the Hermitage, with the silly actors in fancy costumes getting in the way of the paintings and sculptures on display.
    • 86 Metascore
    • 80 Critic Score
    Absolutely perfect family entertainment for anyone over the age of ten. It is a celebration of not just the usual triumph of the human spirit, but a celebration of the human experience.
  35. To me, Say Anything is without a shadow of a doubt the most rewarding, funny, and likable romance of the last twenty years. It heralds the decency of romantic love against the gears of a cold, grinding mechanical world.
  36. Eastwood tells the story at a pace well under the Hollywood speed limit, tosses in details so beguiling they seem about to sprout into motion pictures of their own and bathes his subjects in shadows as lovely as those in any Rembrandt.
  37. 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.
  38. It feels strangely slight for Almodovar, but there's a richness that draws us in -- There's so much going on beneath the surface that you can hardly take it all in.
  39. This isn't to say The Departed is a bad movie, far from it, but knowing who's directing it and the amount of talent he had to work with, it's hard not to be disappointed that Scorsese didn't knock us on our asses. Is it his best movie since "Goodfellas?" Sure, but it falls shy of that film's excellence.
    • 86 Metascore
    • 90 Critic Score
    Imagination spills across the screen in a bold, undeniable presence.
  40. A perfectly serviceable action movie…better than most, in fact. The entire premise is growing creaky, however, leading us to think we might want to leave this particular spy out in the cold a while, before he becomes completely tiresome.
  41. 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.
    • 85 Metascore
    • 80 Critic Score
    The interaction between Hoffman and Linney makes following their characters from their winter of hard experience to a spring of renewed hope well worth the while.
  42. 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.
    • 85 Metascore
    • 90 Critic Score
    Believe the hype, Knocked Up is one of the funniest films of 2007. It's too early in the year to crown it the supreme funniest title, but save for something so funny your head explodes in the theater, I think it'll take the title by year's end. Seth Rogen, we web slackers salute you!
  43. Rich with wonderful music and images.
    • 85 Metascore
    • 90 Critic Score
    Technical elements are among the best this year. Photography, editing, music, production design, and costumes all add seamless period flavor to the puritanical stew that was London almost a half-century ago.
    • 85 Metascore
    • 80 Critic Score
    Fleck manages to mix the storylines which include drug abuse, political commentary and making good choices about your life's path flawlessly.
    • 85 Metascore
    • 90 Critic Score
    This is where Payne shines. Schmidt’s Winnebago journey through America’s heartland is more like a personal voyage into his Heart of Darkness.
    • 85 Metascore
    • 90 Critic Score
    This immaculate filmmaking creates an engaging documentary that makes you forget that you're missing the energy of a live show because it's a completely cinematic experience with its own special energy.
  44. One of the year's best films. It is an extraordinary triumph of nonfiction filmmaking, presenting a wild mind game that leaves the viewer invigorated by its sheer audacity and complexity.
    • 85 Metascore
    • 30 Critic Score
    Reflecting on Sokurov’s other recent work – like “Russian Arc” for example – The Sun is a giant step down. It’s an outrageously long-winded drama that’s awfully directed with the skill of a high school play.
  45. Simply a two-hour rave, an acidic, ecstatic trip through the not-too-distant past in a world called Manchester.
    • 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.
    • 85 Metascore
    • 100 Critic Score
    Joon-Ho's epic is a masterpiece of monster cinema that's intelligent, innovative, and reaches down to the basic core of family unity to propel its story beyond mere conventions of science fiction.
  46. Clooney has finally made a GOOD movie.
    • 85 Metascore
    • 70 Critic Score
    Had that window been opened just a bit more, Z Channel would be a remarkable film. As is, it's thoughtful and arresting.
  47. Two-and-a-half hours of family bickering, bantering, and pummeling can be draining for the viewer, particularly when many of the characters are easy to dislike.
    • 84 Metascore
    • 80 Critic Score
    A surprisingly fresh take on familiar material.
    • 84 Metascore
    • 80 Critic Score
    The faux-doc/tone-poem hybrid My Winnipeg is a worthy product.
    • 84 Metascore
    • 70 Critic Score
    The problem with the film, despite the genius of craftmanship and cinematography, is that the film doesn't really have anything new to say.
  48. From the film's opening moments you won't be able to guess where the whole thing ultimately ends up and that's one of the many endearing qualities of Revanche.
  49. This is a very simple story, but it builds beautifully to an endearing and witty romance.
  50. Love is indeed the greatest mystery, as Lantana's tagline goes, and while the film is ultimately still and interesting and fairly involving one, it's a bit unfortunate that the filmmakers weren't content to simply explore that quandary instead of manufacturing another.
  51. Yolande Moreau's most impressive costars are the extraordinary compositions of Seraphine Louis.
    • 84 Metascore
    • 70 Critic Score
    A fine character study and a solid look at a specific political movement and a certain time and place.
  52. While the audience has its laughs along the way, the violent tension of war often threatens to erupt, and slowly, subtly gathering force is the film's emotional weight, which is potently felt by the film's indelible (if not exactly unexpected) concluding image.
    • 84 Metascore
    • 80 Critic Score
    Not only the best I've ever seen, but also the Indian film that'd be most accessible to a Western audience.
  53. Once again, though -- almost in spite of Haynes' rigorous post-ironic efforts to bring Sirk back from the dead in any and every way he can -- it ultimately comes down to Moore -- and Moore is simply...wonderful.
  54. Echoes Eastwood’s previous exploration of true-life violence, “Unforgiven,” by tracing how death and depravity stain one’s life for generations, leaving seeds to take root in each branch of a tainted family tree.
  55. Do not, under any circumstance, approach this film lightly. Prepare to be depressed, agitated and shocked. And prepare to see a brilliant work of cinematic art.
    • 84 Metascore
    • 80 Critic Score
    A superb exercise in economical filmmaking. Not only from a financial standpoint, as the film was shot in HD and on-location in gorgeous Portland, Oregon…but the story here is so subtle and well drawn, if you blink you might miss it.
    • 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.
    • 84 Metascore
    • 90 Critic Score
    What they produced is something that is true not just to this place or to these people's lives, or to the lives of poor people or black people, but to the experience of being human.
    • 84 Metascore
    • 30 Critic Score
    Speaking as a reviled straight male, I would say that the only true saving grace about this film is Penelope Cruz's performance.

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