Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,606 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: 68
Highest review score: 100 Inside Out
Lowest review score: 0 Rambo
Score distribution:
3,606 movie reviews
  1. Cheerful mishmash.
  2. What Hannibal Rising is, mostly, is a hoot.
    • 16 Metascore
    • 50 Critic Score
    This salt-and-pepper buddy movie set in the scenic environs of downtown Brooklyn and the Australian bush is a crowd-pleaser -- for the elementary-school set.
  3. The real Radio, and the real coach -- seen together in the movie's feel-good epilogue -- deserve better.
  4. Murky and grainy, and showing human beings at their grimmest - thievery, rape, betrayal, murder - Blindness is no barrel of laughs. But it IS a barrel of pretentious metaphorical musings.
  5. A movie that by turns is wincingly awful and heartbreakingly fine. It boasts an unforgettable performance by Björk.
    • Philadelphia Inquirer
  6. Claustrophobic and overwrought, Jailbait is an unpleasant excursion into gay panic mitigated somewhat by performances that are hard to shake.
  7. 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.
  8. Whenever Andrews - that incarnation of the sensible and the sensitive - glides on screen, PD2 sparkles.
  9. Isn't as jaw-droppingly awful as its trailers suggest.
  10. A thuddingly dull remake of the 1971 crime drama starring Michael Caine.
    • Philadelphia Inquirer
  11. 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.
  12. 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.
  13. 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.
  14. Epic piffle.
  15. There's nothing hip or ironic about Poseidon, which makes Russell and Lucas the perfect leading men.
  16. It's still a submarine movie, confined by the ship, the sea, and a convention-laden script.
  17. DePalma's movie offers its own doctoring and processing, without delivering an ounce of real humanity - good or bad - in the bargain.
  18. A sloppy, sentimental story line and pivotal plot turns that are only sketchily realized undermine the life-on-the-road misadventures.
  19. 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.
  20. 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.
  21. Not a great film. Or particularly good. In fact, it's fairly bad as B-movies go.
  22. In mood and in content is just SO 20th century.
  23. 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.
  24. At the film's inconclusive conclusion, the filmmakers strand Erica and Sean in the moral twilight.
  25. 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.
  26. As doggy movies go, this one gets two paws out of four.
  27. A rambling depiction of a junkie's descent into zombitude.
  28. Harry Connick Jr. acquits himself best of the lot.
  29. In truth, the only hazardous material to be found in Diana - the title role assumed bravely, if mistakenly, by Naomi Watts - is the screenplay.

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