Film.com's Scores

  • Movies
For 1,505 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Trainspotting
Lowest review score: 0 Tomcats
Score distribution:
1505 movie reviews
  1. Should satisfy the planet of b-boys and girls to whom it preaches.
  2. Schreiber saves it to an extent with some unusual performance choices, but when you compare this ending to the emotional supernova of Danny Boyle’s “Sunshine” it comes way short.
    • 69 Metascore
    • 72 Critic Score
    The Fog of War is the superior film, but The Unknown Known is more unsettling.
  3. For every poignant moment there’s a gaudy dream sequence, wretched internal monologue, ham-fisted zoom or an exchange of dialogue sorely lacking nuance.
  4. Under the Skin is a deliberately oblique piece of work that prizes rhythms and textures above hows and whys.
  5. Fading Gigolo wants to be some sort of sunny tapestry about New York’s social groups, but it’s impossible to see past its absurd premise.
  6. Parkland mines some interesting scenes, if not in an entirely coherent fashion, resolving as more of an interesting concept than a fully rendered and effective film.
  7. Palo Alto is one of the best movies ever made about high school life in America (admittedly a low bar), blurring the lines between how unique it is to be a teenager, and how universal it is to feel like one.
  8. The best word to describe it is strange, though it could have been halfway decent (yes, all the way up to halfway decent) if the third act hadn’t succumbed to the crescendo of craziness that had been building for the first hour.
  9. Joe
    Cage, not one known for subtlety of late, is truly great in this sad, funny and tender role.
  10. Fiennes and writer Abi Morgan mercifully forsake the gee-golly traditions of similar fame-minded fare...in constructing a narrative as emotionally repressed as its subjects must have been, with each character existing within their own arena of personal and social compromise.
  11. The fact that Cuarón’s film strives to be something more than thoroughly harrowing — no small feat in and of itself — solidifies its existence as a marvel of not just technical craft but sheer imagination as well
  12. For a film that reminds use over and over that this is a whole new world, this movie feels awfully familiar.
  13. The F Word would be commendable on the strength of its unusual wit and warmth alone, but it becomes a far more satisfying (even somewhat illuminating) experience because it doesn’t shy away from the often ugly psychology engendered by cross-gendered friendships.
  14. Denis Villeneuve’s Enemy might have the scariest ending of any film ever made.
  15. Backtracking dilutes the few simple jolts that actually work.
  16. There are countless clever dialogue parries as well as some quite outstanding rants. It definitely takes the movie outside of the world of pure realism, but the theatricality is well worth it.
  17. Rather than thrilling, the courtroom sequences seem only enervating, nudging us toward a quiet outrage.
  18. It’s all about the performances. McConaughey and Leto don’t just give voice to the disenfranchised of the 1980s, but all people suddenly faced with impossible challenges.
  19. A film that inserts banal plot devices and endless cutesiness in place of where the “good parts” should be.
  20. While Bad Words is a little too dopey to take seriously, this is compensated for with a handful of truly amusing sequences.
  21. While there are some okay side stories (stuff with the daughters and daughters’ friends) it kinda feels like attending a dinner party and checking in on the first world problems of a friend you kinda like, but don’t like enough to ask any follow up questions.
  22. What’s truly unnerving about the whole thing is how good certain scenes are, and how great a few of the performances come off, especially Julia Roberts and Meryl Streep – they’re doing amazing work, only it’s the equivalent of building a lovely home on a foundation of quicksand.
  23. It’s a sadistic comedy, both in bloodshed and groan-worthy gags.
  24. The film is starved for the kind of nuance Kore-eda wields effortlessly elsewhere. What’s left without it is something merely schematic.
  25. Rush is one of those rare sports movies that’s compelling as both a drama and a spectacle.
  26. There are tones of 1970s shaggy realism that are interrupted by moments of character-driven shtick. The wistful scenes aren’t rich enough to engross you and the comedy isn’t clever enough to make a difference.
  27. It transcends the usual biopic limitations to tell a specific story about some well-known people with larger, universal implications.
  28. Rarely a moment is ever wasted, a consequence ignored, and though the climax is a corker, the final shot is even better. Prisoners requires and rewards your attention in equal measure. Be ready.
  29. Co-writers and stars June Diane Raphael (“Whitney,” “New Girl”) and Casey Wilson (“Happy Endings”) are genuine and true comic performers. Even though the story stunk, the set pieces were uninspired and the direction was downright wretched, when these two are “on” and doing schtick, they are absolutely fresh and hilarious.

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