Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,517 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 5.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 The Imposter
Lowest review score: 0 Isn't She Great
Score distribution:
3,517 movie reviews
  1. Muniz is quite winning as a plucky teen who is constantly being thrown into situations over his head. But the usually reliable Anthony Anderson e-mails in his performance as Cody's handler.
  2. An alarmingly charmless attempt to evoke the elegant romance and jaunty, jet-setting intrigue of the aforementioned titles, The Tourist is notable for the total absence of movie-star heat that movie stars are paid unseemly sums to radiate.
  3. Suffers from "Bridget Jones" Syndrome but without that movie's charms.
  4. As in "An Education," Scherfig's settings are unshowy, imparting period flavor without overwhelming what is, ultimately, an underwhelming film.
  5. Until Seven Days in Utopia sucker punches you with a surfeit of faith-based platitudes, its upbeat brand of golf mysticism isn't altogether unappealing.
  6. The film never gives you a real sense of what drove Darin on, fighting a heart ailment (from childhood rheumatic fever) and fighting an industry and press that wanted to pigeonhole him.
  7. Less the blistering satire it imagines itself than a blustering, bloody, blundering melodrama about bottom feeders nibbling each other.
    • Philadelphia Inquirer
  8. A script with the most underdeveloped characters and spectacularly realized visuals since "Titanic."
    • Philadelphia Inquirer
  9. Mildly diverting and utterly dispensable.
  10. There is much of interest in Baumbach's pictures - the confident handling of actors, the introspection, the terra-cotta and teal-painted walls. But what do you call a comedy of manners that's not particularly funny? [19 June 1998, p.04]
    • Philadelphia Inquirer
  11. The folks at Disney's Touchstone Pictures would have been wiser, however, just to have forgotten all about this hyperactive farce.
  12. From its jungle forays to its waterfall tumbles to its deadly spider bites - is entirely, utterly unoriginal.
  13. A handsome Holocaust melodrama hobbled by a transparent and cartoonish script.
  14. Rather like listening to Vladimir Horowitz play "Chopsticks."
    • Philadelphia Inquirer
  15. A strange mix of showbiz whodunit and soft-core eroticism, with a couple of fine actors - Kevin Bacon and Colin Firth - wandering around stunned and stoned-looking, as if someone slipped them a mickey.
  16. The best that can be said about the movie is that it's harmless and mostly charmless. The Clone Wars is to Star Wars what karaoke is to pop music.
  17. What's on screen is a hash, though it may very well be the most comprehensive catalog of male erotic fantasies in one single film.
    • Philadelphia Inquirer
  18. Essentially, the film functions as a holiday catalog, introducing fans to a new Pokemon whose effigy they can collect in trading cards.
  19. Seyfried holds the camera's attention, playing this storybook business pretty much straight, although David Leslie Johnson's script puts the actress sorely to the test.
  20. Too bad the filmmakers didn't trust the material. For Ella doesn't need music and references to other, better, movies to cast its unique spell.
  21. A dark, shaky, standard-issue superhero picture.
  22. Basically, it's a muddle.
  23. Nispel is no Rob Zombie - who achieved something akin to brilliance with his 2007 Halloween remake. What's more, as influential as it's been, Friday the 13th was never that great.
  24. Director Tim Story's film has two speeds: pedal-to-metal and screeching halt. The former is guaranteed to make the audience carsick, the latter to give it whiplash.
  25. That this is a cautionary tale about any people who would wage war in order to win the spoils of oil and water? Your guess is as good as mine.
  26. Does the world really need another movie about a married guy wandering blindly into an affair, or the married gal who can't decide whether to remain faithful or fool around?
  27. Structurally and narratively amputated, Volume 1 retains head and guts but loses its heart and gams to the second installment. Maybe Tarantino figured that Thurman's legs, as long as the Mississippi, were sufficient to carry this half of a movie.
  28. Knowing has about a half-dozen screenwriter credits, which may explain why scenes crash up against one another - smart, stupid, far-fetched, compelling. And the trouble is that Cage walks (or runs) through them all, treating each with the same level of intensely goofy seriousness.
  29. A mildly scary, totally meaningless excursion into the realms of psychological horror and alien-abduction conspiracies.
  30. Where Mike Figgis' film, with Nicolas Cage and Elisabeth Shue, bore deeply and darkly into emotional territory, The Center of the World turns out to be just as fake as its setting.
    • Philadelphia Inquirer

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