Movieline's Scores

  • Movies
For 693 reviews, this publication has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Artist
Lowest review score: 5 The Roommate
Score distribution:
  1. Negative: 41 out of 693
693 movie reviews
  1. The Invisible War might be best judged as a piece of activism, in which case it's already succeeding - after seeing the film in April, Secretary of Defense Leon Panetta took the responsibility for sexual assault investigations away from commanding officers and put them in the hands of higher-ranking officials.
  2. An elegantly observed, sleekly packaged look at an artist whose career-long balance of enigma and self-exposure culminated in a 2010 retrospective at New York City's Museum of Modern Art.
  3. It's an amusing enough story, all right, and it adequately fills up Tabloid's 88 minutes - but a minute longer would have been too much.
    • 74 Metascore
    • 85 Critic Score
    It's probably too early to peg Frankenweenie as Burton's comeback vehicle, but it's certainly the director's best movie in twenty years.
  4. Laure is pleasingly uncute, with a gruff demeanor that gives way to affecting glimpses of vulnerability.
  5. Farewell, a cold war drama by the French director Christian Carion, isn't just a movie set in 1981; in many ways it feels like a movie made in 1981.
  6. Bully is much better when it sticks to simple storytelling. And storytelling, not grandstanding, is the thing that just might grab the attention of, say, school administrators, people who can have some effect on how bullies are dealt with.
  7. The effect recalls the beguiling lightness of the good old Disney, where clever visual and thematic feats are deftly interwoven and yet tossed off with an insouciance that favors playfulness above all.
  8. Farmiga closes in on moments that express mood and character so lightly and perceptively that you don't notice them gently - sometimes too gently - moving the story forward.
  9. The Town lacks Gone's operatic ambitions. And the irony is that that lack of a grand or even grandiose plan keeps this very good film from being a truly great one.
  10. Hill cuts a hilariously adversarial figure.
  11. Into the Abyss, which bears the subtitle "A Tale of Death, A Tale of Life," reveals itself to be an outlandish, compassionate and, at times, improbably buoyant film about life's capacity for grief and horror and about how it bubbles on miraculously in the face of such things. It's the best thing Herzog's done in years.
  12. The audience is never seen and only faintly heard. This puts a lot of visual pressure on a very inward performer. Young is a beast onstage, to be sure - he seems to re-grow an appendix for each song.
  13. Ultimately -- and perhaps fittingly -- Cropsey is most effective as a study of Staten Island and its inhabitants, specifically the half-life of grief as it is manifested in a self-contained community.
    • 73 Metascore
    • 90 Critic Score
    Physically it is a kick in the teeth, a depiction of poverty, sex and violence which crosses most known codes of acceptability.
  14. A brightly lit nightmare of patriarchy run amok.
  15. There's a sliver of a plot to The Raid, but it's really not worth going over -- when the characters pause to talk, which is rare, it does tend to kill the film's momentum.
  16. The latter half of The Impossible is so disappointingly movie-ish, tying a bow on the events after portraying them too vividly to allow them to be wrapped so neatly. It wrings out tears with an industrious efficiency that leaves you feeling manhandled after the exhilarating, terrifying footage that's unfolded before.
  17. It's all rather casual - not unengaging, exactly, but lacking a narrative energy all its own.
  18. It's the kind of movie that makes the world feel like a smaller place, suggesting that the similarities connecting us across continents and cultures are more resonant than the things that divide us.
  19. Between the Truffautish voice-overs and Jacques Demy-style musical interludes, it's a wonder anyone in this sort-of drama, sort-of comedy ever gets any rest.
    • 73 Metascore
    • 70 Critic Score
    A well-heeled French assassin chick who murders in exchange for diamonds? So '90s-era rejected Bond script, guys.
  20. It's valuable for both the vintage footage Rostock has collected and for the observations provided by Belafonte, who is as charming, handsome and persuasive in his mid-80s as he ever was.
  21. Cabin in the Woods does what "Scream" only halfway managed, which was to find something new by looking back at the familiar - and at least in Whedon's world, the geeky ones are never first on the chopping block.
  22. The main and most enjoyable difference between the second installment and the first is the greater opportunity the latter provides Cassel to sketch some dimension into the coded mythologizing of his character.
  23. Safety Not Guaranteed is permeated with that aura of unfocused melancholy common to so many indies these days -- what are we all so damn sad about? -- but by tying it back to characters that don't seem popped from any too-familiar mold, the film allows its sense of regret, its alarm at time passing, to feel earned.
  24. The picture could be so much better than it is, and yet it's also the kind of movie that makes you want to grade on the curve, adding extra points for good intentions.
  25. The timing couldn't be more opportunistic for a new Steven Spielberg movie that mines the thrilling uncertainties of childhood - even if it happens to have been made by J.J. Abrams.
  26. For all its borrowing from old Hollywood, I don't think War Horse is particularly nostalgic. The word I'd use is wistful. It's the largest, most lavish handful of wistfulness money can buy, and sometimes it's too much. Yet it's nice to know that even Steven Spielberg can still wish for something.
    • 72 Metascore
    • 85 Critic Score
    Judged on a curve, set by the testosterone-fueled raunch-a-thons that have dominated teen comedies from "American Pie" to "Superbad" and beyond, Easy A deserves an A+, with extra credit for lack of misogyny, c--- talk, or flatulence.

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