Philadelphia Daily News' Scores

  • Movies
  • TV
For 89 reviews, this publication has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% 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: 67
Highest review score: 100 Lady Bird
Lowest review score: 25 The Snowman
Score distribution:
  1. Positive: 70 out of 89
  2. Negative: 6 out of 89
89 movie reviews
  1. There are a few fearful moments when you think the movie will be a collection of affectations. But the characters are too real, Gerwig’s eye for the adolescent lives of young women too keen.
  2. It’s a remarkable performance by McDormand, matched by Rockwell.
  3. A movie that could have been about loss and defeat becomes something else — a testament to spiritual stamina, to the power of family bonds and their importance to homes, to streets, to neighborhoods and to cities.
  4. 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.
  5. It is often a captivating visual marvel, using newfangled special effects in ways that aspire more to the poetic than the kinetic.
  6. Spielberg and Co. are obviously excited to be making The Post, and that palpable enthusiasm makes the movie feel so unusually lively for a big-studio movie. It’s nimble, crisp, passionate, full of verve and invention.
  7. The Big Sick is romantic and funny, but the movie is way too sprawling and ambitious to be contained by the words romantic comedy.
  8. It’s a good, quiet performance by Teller, and also by Bennett — her Saskia is welcoming but wary.
  9. The movie is an inventive and shrewd satire of the way social media can be used to describe and distort the lives of users.
  10. 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.
  11. Lucky, written as a tribute to Harry Dean Stanton, ends up being a fitting cinematic eulogy to the late actor, who died last month.
  12. In essence, it shows that what the “horse soldiers” did was pretty remarkable — efficient, daring, effective.
  13. 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.
  14. 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.
  15. In general, Coco is the kind of first-rate technical production you expect from Pixar. On the other hand, it often feels more frantic than exciting, and it counts on moments of humor that often do not materialize.
  16. Branagh the actor finds a nice balance between Poirot’s colorful flourishes and his moral seriousness. Branagh the director gives the movie the same balance, and wants the audience to have as much fun as the actors, which is true more often than not.
  17. Paul Thomas Anderson’s Phantom Thread is a cockeyed love story that starts as weirdly as it ends.
    • 73 Metascore
    • 75 Critic Score
    It is, in some spots, an emotional film thanks to the intimacy it shows between Gottfried and his family, but avoids being too saccharine. Thankfully, the comedian’s foul mouth probably helps the film from going too far into weepy territory.
  18. 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.
  19. 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."
  20. Del Toro somehow manages to keep the deeply weird mash-up of ideas and images coherent, unified by style and mood.
  21. 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.
  22. Churchill, by way of Darkest Hour, hands the actor some of the best speeches of his career, and Oldman brings them vividly to life.
    • 75 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.
  23. When we finally leave the hotel, the movie’s energy is spent.
  24. The movie has things on its mind, like the expendability of labor in the modern workplace.
  25. The actors make the most of Baumbach’s lively script.
  26. The Disaster Artist really hangs on James Franco’s performance. He’s an uncanny mimic of Wiseau’s legendary accent and mannerisms, but what he really nails is Wiseau’s complete lack of self-awareness.
  27. 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.
  28. 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.

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