Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,633 reviews, this publication has graded:
  • 70% higher than the average critic
  • 3% same as the average critic
  • 27% lower than the average critic
On average, this publication grades 5.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Locke
Lowest review score: 0 A Little Bit of Heaven
Score distribution:
3,633 movie reviews
  1. Claustrophobic and overwrought, Jailbait is an unpleasant excursion into gay panic mitigated somewhat by performances that are hard to shake.
  2. Stephen King without the snap, David Lynch without the kink, teen horror without the teen hormones, Darkness Falls falls apart in a crescendo of creepy-crawly hoo-ha. It's more like Darkness Kerplunks.
  3. Whenever Andrews - that incarnation of the sensible and the sensitive - glides on screen, PD2 sparkles.
  4. Isn't as jaw-droppingly awful as its trailers suggest.
  5. A thuddingly dull remake of the 1971 crime drama starring Michael Caine.
    • Philadelphia Inquirer
  6. There are tiny glints of humor and intelligence at work, and the action and animation rockets along slickly and stylishly. But unlike the protagonists of almost any and all of the Pixar titles, Astro Boy's namesake lacks even an iota of soul.
  7. The Express eventually reaches its triumph-of-the-human-spirit climax, but it yanks too hard on the heart strings during the long journey there.
  8. It's clean and cheerful entertainment, blithely piggybacking on a beloved classic. No wonder Anderson washed his hands of this project - the filmmakers tampered with and trampled on his magic formula.
  9. Epic piffle.
  10. There's nothing hip or ironic about Poseidon, which makes Russell and Lucas the perfect leading men.
  11. It's still a submarine movie, confined by the ship, the sea, and a convention-laden script.
  12. DePalma's movie offers its own doctoring and processing, without delivering an ounce of real humanity - good or bad - in the bargain.
  13. A sloppy, sentimental story line and pivotal plot turns that are only sketchily realized undermine the life-on-the-road misadventures.
  14. Feels like the cinematic equivalent of the BP disaster in the gulf: It's a big-screen oil spill, a needless gushing of macho bluster and wild set pieces, and a waste of millions and millions of dollars.
  15. At least an hour of Man of Steel's excessive running time is devoted to the sort of crash-and-burn, slamming-into-skyscrapers CG fight scenes that we've already seen in "The Avengers" and "Dark Knight," "Iron Man," and "Spider-Man." Man of Steel is just the same old same old.
  16. Not a great film. Or particularly good. In fact, it's fairly bad as B-movies go.
  17. In mood and in content is just SO 20th century.
  18. Don't blame Kline. This most thoughtful of actors is trapped behind the lectern of a film that spouts contradictory lessons it can't reconcile.
  19. At the film's inconclusive conclusion, the filmmakers strand Erica and Sean in the moral twilight.
  20. The 3D effects are of a gimmicky 1956 vintage, with hands thrusting from the screen to give the illusion of reaching out and touching the audience.
  21. As doggy movies go, this one gets two paws out of four.
  22. A rambling depiction of a junkie's descent into zombitude.
  23. Harry Connick Jr. acquits himself best of the lot.
  24. In truth, the only hazardous material to be found in Diana - the title role assumed bravely, if mistakenly, by Naomi Watts - is the screenplay.
  25. Much as I gnashed my teeth during 27 Dresses, I genuinely enjoyed the warmth of Heigl's and Marsden's confident ease. While both might be a few minutes past their star-is-born moment, these troupers with more than 30 years of professional work between them have never shone so brightly. It may sound contradictory, but loved them, hated IT.
  26. Doesn't take itself seriously, and that's a good thing.
  27. Miami Vice, the movie, is an atmospheric muddle, as gorgeous and unintelligible as raven-haired stunner Gong Li.
  28. For all its mayhem, for all the smashing windows and kabooming fireballs, the grenade launchers and giant helicopters, A Good Day to Die Hard not only fails to top its predecessors, it also forgets the basic Die Hard rules.
  29. Either an airless allegory about opportunistic Americans or another one of the director's parables of female persecution. OK, maybe it's both. But life is too short for three hours of misanthropy and misogyny.
  30. Short, sour and scabrous, Bosses is that paradoxical thing: a situation comedy where neither situation nor comedy is particularly effective where nonetheless Jason Bateman is sidesplitting, as is Colin Farrell in a supporting role.

Top Trailers