Movie Nation's Scores

  • Movies
For 465 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% 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 56 Up
Lowest review score: 25 Black Rock
Score distribution:
  1. Negative: 75 out of 465
465 movie reviews
  1. Branagh & Co. keep up appearances with a thriller that works mainly because all of its parts — locations, fights and plot twists — are well worn from all the thrillers they’ve been in before.
  2. A fascinating documentary experiment in fathoming the heretofor “unfathomable” genius of Johannes Vermeer.
  3. Clooney, for the first time in his directing career (“Good Night, and Good Luck,” “The Ides of March”) never finds the sweet spot, and never quite wrestled the script into a shape entertaining enough to make the liberties he and Heslov took with the facts worth it.
  4. There’s nothing deep in this script, and the delayed romance, between real-life lovers Roberts and Evan Peters (of “American Horror Story”) sets off no sparks. The characters are sort of a grab bag of “types.”
  5. What keeps us around until the closing credits, where Hart and Hall bust each other up, is the electrical charge between those two. They’re the Wimbledon Finals of sexy, sassy, drunken comic banter — two pros, evenly matched enough to put on a great show, even if they make us forget about the rest of the movie around them as they do.
  6. A genuine “bodice ripper” of a thriller, with the requisite heavy breathing that comes after said bodice is ripped. The sex isn’t explicit, but Olsen and Isaac suggest the heat that gives this doomed affair its momentum.
  7. What Anderson delivers this one time is a genuine spectacle, a gladiator movie with a volcano in the middle of it.
  8. Daft and sloppy as it is, 3 Days rarely fails to entertain.
  9. In detail and combat spectacle, Stalingrad is hard to beat. And whatever its failings, one can’t help but be curious about a story as connected to national identity as this one, a film that like today’s Russia, feels more Soviet than Russian.
  10. Unlike “The Passion of the Christ,” there’s no Aramaic with English subtitles, a lot less blood and no anti-Semitism. No character feels like a caricature... But it’s also dramatically flat, with few actors making much of an impression as they play saints and sinners.
  11. The design... is stunning, an improvement over 2006′s “300.” And the action never disappoints. It’s a pity this colorless cast doesn’t hold a candle to the Butler/Headey/Michael Fassbender/David Wenham crew of the original, that the writers couldn’t conjure up thrilling speeches to match the original.
  12. A nail-biting thriller in the classic Hitchcock style.
  13. For all its fun flourishes and tepid over familiarity, fans are going to dig this. It is, after all, the movie they paid for. They’re the folks who “like this sort of thing.” The rest of us can be forgiven for waiting for it to show up on Netflix — on TV.
  14. Deneuve suggests the self-absorption of the beautiful, coping with the petty insults of age, making Bettie a bundle of nerves wrestling with a complicated past and an increasingly frazzled present. See it for her performance, and a lovely slice of French scenery.
  15. A nasty, elemental thriller, basically a four-character play with blood and guts and sex and drugs and dares
  16. A romantic melodrama that’s so well-cast and acted and made with such loving care that you could almost forgive how long it takes to get to its obvious conclusion, how melodramatic the whole “sordid” affair is.
  17. It’s OK for April, in other words, but not up to the higher standards of a Marvel summer blockbuster.
  18. Oculus earns its frights the old fashioned way — with convincingly traumatized characters, with smoke and with mirrors.
  19. The singing is nice, the peripheral characters interesting. But a love that others don’t approve of, that may get in the way of a big concert debut? That makes Gabrielle a bit too Lifetime Original Movie for its own good.
  20. More interesting as history, re-written, than as the moral parable this true story became.
  21. Melissa K. Stack’s script has snap and crackle to go with the pop, making this female wish-fulfillment fantasy an “Eat, Pray, Revenge” that delivers the punches that two “Sex and the City” movies never could.
  22. So while this Spider-Man is, if anything, more competent than the first film it’s still not one that demands that you stick around after the credits. There’s nothing there.
  23. Eisenberg, perfectly, pliably put upon, is the engine that drives this picture.
  24. The fun is supposed to build from the elaborate plots the marrieds and the bros engage in to foil each other. Only, it doesn’t.
  25. It’s a bit of a muddle and a touch too soap operatic. But Newton, Rose and Ejiofor give their characters and this story just enough pathos to make the history lessons sink in.
  26. What holds our interest and holds the story together is this winning cast in these familiar, lovable (somewhat) roles. A dozen years on and this exercise in globe-trotting, in “We’re growing older, but not up” reminds us that what’s true in life is just as true in casting movies — pick your friends carefully enough and they’ll entertain you for a lifetime.
  27. Reichardt hangs her film on Eisenberg, who subtly suggests a loner whose primary gift for the cause is he whole in his soul where a longing or human contact should be. It’s a terrific performance and it holds the movie together even as Night Moves stumbles toward its foregone, and rather poorly handled, conclusion.
  28. Collette always delivers fair value. Her Ellie is hard-drinking, high-mileage, slimmed down and flirting with Cougar-hood, a woman living in the trap of her world, her work and the love she lost.
  29. Cruise and Blunt have only as much chemistry as the script allows.
  30. Gleeson, Pinsent and Kitsch make this a diverting comic travelogue for anybody who misses “Northern Exposure” but has no intention of moving to Alaska, or in this case, Newfoundland.

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