Philadelphia Daily News' Scores

  • Movies
  • TV
For 53 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% 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: 66
Highest review score: 88 Dunkirk
Lowest review score: 25 The Snowman
Score distribution:
  1. Positive: 42 out of 53
  2. Negative: 3 out of 53
53 movie reviews
  1. Nolan fractures the narrative so that it loops back on itself — we see the events from the perspective of different characters and from different chronological vantage points, though the story coheres by movie’s end.
  2. It is often a captivating visual marvel, using newfangled special effects in ways that aspire more to the poetic than the kinetic.
  3. The Big Sick is romantic and funny, but the movie is way too sprawling and ambitious to be contained by the words romantic comedy.
  4. The movie is an inventive and shrewd satire of the way social media can be used to describe and distort the lives of users.
  5. Suffice it to say that as James is pushed into the real world, the real world is more than willing to meet him halfway, in a way that is touching and charming, and at the same time plausible.
  6. Lucky, written as a tribute to Harry Dean Stanton, ends up being a fitting cinematic eulogy to the late actor, who died last month.
  7. The movie is a little too postured.... Even Baby’s busy backstory threatens to make him a collection of quirky details. But all of that artifice is probably part of the point, best appreciated by generation Ear Bud and its preference for curated experiences.
  8. Some are born great, others achieve greatness, and in the documentary Chasing Trane: The John Coltrane Documentary, we meet a musician who falls squarely in the latter camp.
  9. Seal, though, makes for a poor fall guy. Liman had it right in that first scene: The turbulence in Seal’s life was of his own making.
  10. Victoria & Abdul, though, is Dench’s show. She wrings dignity and humanity (and a good deal of comedy) from Lee Hall’s broadly drawn scenario, much as she did in this movie’s cross-cultural bookend, "The Best Exotic Marigold Hotel."
  11. Lady Macbeth is a mash-up of a different sort — it’s not strictly Shakespeare, but based on a Nikolai Leskov novel that transplanted elements of the play to 1865 Russia. Like "Shanghai Knights," this film adaptation is a period drama, but the actions of the woman are faintly anachronistic — modern attitudes transplanted into 19th-century characters.
    • 74 Metascore
    • 75 Critic Score
    If nothing else, Darren Aronofsky’s latest film, mother!, will get you talking. Part psychological thriller, part anarchic horror flick, it is one of the strangest movies to come from a major studio in recent years — and Aronofsky seems to revel in that confusion.
  12. When we finally leave the hotel, the movie’s energy is spent.
  13. The movie has things on its mind, like the expendability of labor in the modern workplace.
  14. The actors make the most of Baumbach’s lively script.
  15. One of the movie’s goals is to grant neurodiverse subjects their full measure of humanity, and to that end, Dina is candid on the subject of sex, where the movie also finds its loose narrative arc.
  16. Marshall overcomes some early stiffness and flat-footed storytelling and evolves into an engaging courtroom drama, where witness-stand theatrics and Perry Mason flourishes give the movie needed narrative momentum.
  17. The movies may be frivolous (and stitched together from British TV shows), but they are unique — they have an astute understanding of mature male friendship that is rare, even in a male-dominated industry.
  18. The contributions of the actors now blend more seamlessly with the animation to create digital characters, and the characters are being integrated more successfully and believably into the landscape — director Matt Reeves works on a big widescreen canvas of sweeping, picturesque exteriors.
  19. One of the best of the 16 Bond films, thanks to Dalton's athletic, tough and deadly new 007.
  20. The movie is as bubbly and eager as Peter himself, but a little more efficient. It designs its actions sequences around character and story and — a rare thing in comic-book blockbusters — lets the actors act during the climactic action piece.
  21. It’s possible, even given Lee’s jaunty structure, that he could have given Girls Trip a more disciplined edit — the movie runs more than two hours, devotes generous time to less interesting characters, and makes room for the movie’s long roster of performance cameos — in addition to Hart, there’s P. Diddy, Common, Ne-Yo, Mariah Carey, Kenneth “Babyface” Edmonds, and many others.
  22. Patti Cake$, in the end, is a little pat, but it doesn’t take its underdog, band-of-misfits formula too far, and Macdonald’s infectious grit carries the day.
  23. It’s an obvious formula, but when the movie sticks to it, it works well enough; Reynolds and Jackson have pretty decent chemistry.
  24. Maslany is first-rate in this role.
  25. Hawkins — small and mighty as usual — draws her energy from the quiet courage in Maud’s drive to create, to modify and adorn her bleak world with the images that express the contentment she knew as a child.
  26. Only the Brave has a respectful and heartfelt regard for its characters, and something more — an unusual sense of their spiritual lives, abetted by the movie’s impressive visual presentation.
  27. It’s here that Sheridan’s genre instincts get the best of him, and Wind River gives way to lurid exploitation.
  28. The movie is often clumsily scripted, and given to caricature, which Carell and Stone manage to transcend. The best, most telling dialogue seems to be archival — snippets of Gollum-like broadcaster Howard Cosell, his arm around his female co-commentator, oafishly telling her how pretty she is.
  29. Atomic Blonde is what fans of the Clash used to call a poser.
  30. It
    You almost wish the movie had jettisoned the horror elements entirely, and converted It into what it feels like it wants to be — something more like King’s Stand By Me, with a teen girl in the mix.
  31. Well, the movie is trippy and almost willfully opaque — all I can say for sure is I left A Ghost Story feeling full.
  32. While the movie initially adheres to the Chan brand — emphasizing athleticism over violence — it turns grisly and vicious in the closing scenes.
  33. As usual, Hall is awesome. She has an effortless way of projecting ferocious female intellect, and we see why her character captivates Byrne. When Hall is on screen, the movie works.
  34. Meyers-Shyer loves movies as much as the young men in Home Again and the best scenes reflect that.
  35. It’s a quietly inspiring portrait of selflessness, although not always a stirring one. The movie has a muted tone that tamps down emotions, and the acting is intentionally low-key throughout.
  36. The movie needs an editor, or a bartender, to remind the director when he’s hit the two-hour mark: Last orders, Mr. Vaughn.
  37. Courtney and James have good chemistry, and the sexual candor of their scenes together comes as a bit of a surprise, given the costume-drama, art-house tone of the production, though perhaps this is just the residue of James’ "Downton Abbey" days.
  38. Dunst is playing it straight here, but there is enough arch in Kidman’s eyebrow to signal that Coppola is having fun around the edges of this Southern gothic, with its formal compositions and deliberate pacing (as usual, a little too deliberate for my taste).
  39. What stands out, though, is the dynamic between Dana and Ali. It’s been some time since I’ve seen sisters drawn this well and this convincingly.
  40. What keeps the movie watchable, for the most part, are the one-off flourishes built around incidental characters.
  41. The movie was (apparently) shot guerrilla style by director Weinstein, though the filmmakers have been coy as to which scenes were captured stealthily and which are dramatized. This leads to questions about tact and voyeurism that go unanswered and frankly made me a little queasy.
  42. The Glass Castle is an unfortunately flat and messy adaptation of Jeannette Walls’ best-selling memoir about growing up with extreme poverty and with parents who both inspired and damaged her.
  43. I give Goodbye Christopher Robin credit for presenting audiences with a Pooh origins story they might not want to see, but having settled on this subject, the movie seems uncertain how to proceed.
  44. Bay makes a lot of familiar moves here.
  45. The movie works reasonably well as a thriller but falls apart in other areas.
  46. The movie pitches Connie’s behavior as the spur-of-the-moment improvisations of a hustler out to save his brother, often played for laughs, but a ruthlessness shows through. This adds a toxic tone to scenes that involve immigrants and minorities, though this is probably unintended.
  47. The story is ridiculous, the digressions many, but it’s all intended to be part of the fun. Like Besson’s "The Fifth Element," we’re mainly meant to enjoy the sensation of watching wacky green-screen worlds unfold before us.
  48. For a movie that presents itself as formally inventive, developments in Brad’s Status are a little too easy to guess.
  49. Gore is his own form of renewable energy. He is tireless, never wavers in his devotion to his crusade — an apt term in “Truth to Power,” which invokes Pope Francis and the Rev. Dr. Martin Luther King Jr. The movie’s money line has Gore (he repeats it in virtually every interview) invoking the Book of Revelation.
  50. I give Elba enormous credit for maintaining a straight face — he and Taylor account for the movie’s few good moments — but the silly script seems to have awakened the dormant ham in McConaughey.
  51. The chemistry between these two attractive people and fine actors is unaccountably bad.
  52. The Snowman is reminder that movies are hard to make, highly collaborative, often chaotic, and hundreds of things can go wrong. Here, everything did.

Top Trailers