McClatchy-Tribune News Service's Scores

  • Movies
For 601 reviews, this publication has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 12 Years a Slave
Lowest review score: 25 I'm in Love with a Church Girl
Score distribution:
601 movie reviews
  1. 56 Up feels like the most hopeful film of them all - amusing, entertaining, and touching.
  2. McQueen and his stellar cast take us on a difficult journey, an odyssey that will make you want to avert your eyes. It is to their great credit that we don’t.
  3. Dallas Buyers Club is one of the best pictures of the year.
  4. And Dern, a great character actor who made his mark opposite everyone from Redford and John Wayne to Jane Fonda, embraces the roll of a lifetime.
  5. Beautifully cast, touchingly played and handsomely mounted, Belle is as close to perfect as any costumed romance has a right to be.
  6. Richard Linklater’s Boyhood is an amazing achievement in telling an unremarkably remarkable life story.
  7. The script and Simmons, known for TV’s “The Closer” and as tantrum-tossing editor J. Jonah Jameson in “Spider-Man,” make Fletcher a monster, and then look for ways of explaining him.
  8. Serious and silly, self-aware and ironic, it’s the movie that questions stardom, fame and celebrity, built around a role Michael Keaton had to become a has-been to play.
  9. Using archival footage, inventive animated recreations of incidents and chilling aerial smart-bomb views of air strikes as they happen, Moreh creates a simple yet elegantly damning film.
  10. The dialogue is hard-bitten and Mamet-sharp.
  11. Young Onata Aprile makes Maisie a passive wonder, a sweetly poker-faced, nonjudgmental and hopeful child, even as she’s being ditched at bars, forgotten at school or passed back and forth like a prize, or a bad penny.
  12. As with her best films, Coppola is utterly at ease in this milieu and it shows.
  13. Doueiri has brilliantly and simply put a compassionate human face on a part of the world where ethnicity still trumps education, class and achievement, where even the successful face, at best, second-class citizenship in their own country.
  14. The funniest kids’ cartoon of the summer.
  15. It’s a pretty conventional “Lifetime Original Movie” sort of story. But co-writer/director Thomas Vinterberg (“Dear Wendy”) makes it work by building a sense of frustrating unease into it all.
  16. This is as thorough a take-down of a business and its practices as you’re likely to ever see.
  17. Michael B. Jordan (“Red Tails”) is never less than riveting as Oscar, and he has to be.
  18. Witty, warm and wistful and in just the right proportions, Spectacular is the best-acted film of the summer.
  19. A fine and fun film tribute to the milieu, the men, women and machines in a sport that was never deadlier or more glamorous than its Disco Decade incarnation.
  20. Bullock and Clooney make their peril our peril in this absolutely gorgeous, moving and sometimes exultant reminder that the real terrors of space are scary enough, without invented bug-eyed monsters thrown in.
  21. To fans who know the tunes by heart, hearing their history is never less than thrilling. And if you’ve heard that line about “Swampers” and never new who they were, you should. They have been known to pick a song or two.
  22. The performances and Greengrass’s way with action immerse us and make Captain Phillips a tight, taut,edge of your seat thriller even if you remember the ending.
  23. This solo ordeal won’t be to every taste, but All Is Lost is a grand vehicle for the actor and for that viewer ready to consider his or her own mortality, the problems, conflicts, strengths and shortcomings you’re sure you leave behind when you just sail away.
  24. Most credit goes to Coogan for the success of this odd coupling.
  25. We’re taken back to a naive era, when the boundaries of “smut” were narrower, when even the images of an unlikely “adult” star (she never did sex films or “real” porn) seem now like good, clean fun.
  26. It was never going to be “Supercalifragilisticexpialidocious.” Reserve that honor for the film that inspired it. But Saving Mr. Banks is still one of the best pictures of the year.
  27. The disco decadence, the seedy era before Times Square became a theme park, the lowered expectations of an endless recession, everything that was then and is now makes up American Hustle. And that’s what makes this the best movie of this holiday season.
  28. Her
    Is it better to have loved and lost than never to have logged on at all?
  29. It’s an intimate, quiet and slow-paced romance, a simple, richly rewarding movie in the classic style of India’s greatest filmmaker, the late Satyajit Ray.
  30. We should all be so lucky as to live in a world designed, peopled and manipulated by Wes Anderson. His latest film, The Grand Budapest Hotel, is a dark, daft and deft triumph of design details.
  31. Joe
    Joe is the movie that will make you remember how good Nicolas Cage once was and can be again.
  32. It’s more an instant cult film than a picture with any prayer of reaching millions.
  33. A true indie film roller-coaster ride, from moon-eyed romance to aching heartbreak, cerebral puzzle to incredibly moving, emotional resolution to that puzzle. In a season of the year where sci-fi is dumbed down and then dumbed some more for mass consumption, here’s a piece of speculative fiction that will stick with you long after the last Transformer’s battery has died.
  34. Hoffman is merely the first among equals in a stellar cast.
  35. Calvary is a compact and biting tale of a righteous man being tested by his faith, his peers and his predicament.
  36. Artistically, Get on Up rivals “Walk the Line,” with a lead performance on a par with the career-making turns of Angela Bassett (“What’s Love Got to Do With It?”) and Jamie Foxx (“Ray”). With this wonder of the summer, Boseman and Taylor deliver a piece of American cultural history every bit as important as the Jackie Robinson story, a story told with heart, humor, funk and soul.
  37. A leg up on the first “Trip,” an altogether more delightful vacation with two blokes who might wear us and each other out along the way. But then, that’s half the fun.
  38. The Drop is a simmering thriller from the writer who gave us “Mystic River” and “Gone, Baby Gone,” a tale heavy with the weight of violence we know is coming.
  39. Start to finish, it’s a delight.
  40. A Mexican-accented kids’ cartoon so colorful and unconventionally dazzling it almost reinvents the art form. As pretty as a just-punctured pinata, endlessly inventive, warm and traditional, it serves up Mexican culture in a riot of Mexican colors and mariachi-flavored music.
  41. Whatever its length and melodramatic third-act touches, Interstellar is a space opera truly deserving of that label, overreaching and thought-provoking, heart-tugging and pulse-pounding. It’s the sort of film that should send every other sci-fi filmmaker back to the drawing board, the way Stanley Kubrick did, a long time ago in a millennium far away.
  42. This delightful and inspiring drama succeeds the way Hawking has, even as he fails to deliver that “one theory” that explains “everything.” It’s reaching beyond your grasp, in life, in science and in film biographies, that achieves greatness.
  43. Jones tells this story with care and a lack of hurry, a pace to fit an age when people traveled no faster than two mules pulling a wagon could carry them. It’s “True Grit” and “The African Queen” with a moment of “Lawrence of Arabia,” period-perfect and a total immersion in this world.
  44. Carell, though, is the real shock to the system here. He is quirky, queer in the old fashioned sense, and pathetically funny.
  45. In a cinema recently overrun with combat documentaries, Marshall Curry’s Point and Shoot manages a first. Here’s a film that captures the romance of war amongst today’s young and testosterone-fueled. Want to know why young men from all over the world have flocked to fight for ISIS? Point and Shoot explains it.
  46. Ptacek, as she was in the short, makes a great foil. And the addition of Rossum and Perlman to the cast adds pathos and paranoia, guilt and menace.
  47. It does a poor job of showing the tragedy of Turing’s hidden life but a better job at making a bigger case — unconventional people make unconventional thinkers.
  48. As he did with “The Dallas Buyers’ Club,” director Jean-Marc Vallée covers this inner and outer journey with a minimum of fuss. The flashbacks and their revelations, filling in the puzzle, are sparingly doled out. The stunning scenery Cheryl hikes through is barely noticed.

Top Trailers