Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,909 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 5.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The Constant Gardener
Lowest review score: 0 Isn't She Great
Score distribution:
3909 movie reviews
  1. Viewers get very little about Madoff himself. While the film is primarily about Markopolos, it makes little sense without much insight into his nemesis.
  2. A mercifully fleet and lamentably uninteresting adaptation of the DC Comic about a war-weary Confederate soldier.
  3. Mostly, Dinosaur 13 is far too long, slogging along without momentum or suspense. These events would have been better handled in a single installment of Dateline.
  4. Faced with the script's weak humor and feeble stabs at irony, Schwartzman and Stiller turn it way up, setting the dial at "hammy."
  5. So stupid, so stupefying, so stupendously bad.
    • Philadelphia Inquirer
  6. Often incomprehensible (a combination of jumpy editing and lots of thick British Isles accents) and hardly ever entertaining - even unintentionally.
  7. The Man on Her Mind, a mirthless, stagy romantic comedy about a pair of New York loners, isn't so much a story as a threadbare concept - a one-liner, really. An old, used-up one at that.
  8. Hollywood's latest entry in that tried-and-true genre, the disaster movie, is . . . well, it's like . . . a totally gnarly roller-coaster ride!
  9. Unrelentingly grim, plodding, and close-to-incoherent adaptation of Tom Rob Smith's best-selling mystery.
  10. 13 Ghosts is the type of project that all parties concerned will have to live down for the rest of their lives.
  11. A generic oven-stuffer that wants to be a stocking-stuffer, is a turkey, despite the foil wrapping and some artfully deployed tinsel.
  12. Looking for plausibility in a farce is like looking for a million dollars in a box of breakfast cereal, but elements of real life can make a comedy resonate instead of thud. Little Black Book does the latter.
  13. In the annals of sequeldom, Kick-Ass 2 has to be one of the lamest follow-ups ever.
  14. The film's one realistic performance is that of Dakota Fanning as Lucy, whose child's shame, fear and resourcefulness ground the movie in recognizable behavior. She breathes air into this suffocating enterprise.
    • Philadelphia Inquirer
  15. Drawing comparisons to "The Wire" may be unfair, but taken on its own, this anemic vehicle for Ice Cube and Tracy Morgan to mug and jive through is just weak, weak stuff.
  16. Laughably bad adaptation of a Guy de Maupassant novel.
  17. Although there are several truly jolting scares, there's also an abundance of hackneyed dialogue and more silly satanic business than you can shake a severed limb at.
  18. Bobby Jones plays out much like a round of golf - slow, old-fashioned, tediously long, and lacking in drama.
  19. Screenwriters Nicole Eastman and the "Blonde" team of Karen McCullah Lutz and Kirsten Smith provide dialogue that has the propriety of the locker room.
  20. A movie so dumb it raises serious questions about our place on the evolutionary ladder. [12 Jan 1996, p.12]
    • Philadelphia Inquirer
  21. The greatest lacrosse movie of the 21st century - and, unless I'm mistaken, the only lacrosse movie of the 21st century.
  22. Evolution devolves to the sight of a colossal alien expelling flatus over Arizona. So that's why this movie stinks. Play that flatulent music, white boy.
    • Philadelphia Inquirer
  23. A groaningly awful romantic comedy.
  24. It would better to call it Two Actors in Search of a Story.
    • 39 Metascore
    • 38 Critic Score
    Alas, this eternally sunny character's mantra, "I don't have a problem, I solve problems," makes for paltry dramatic tension.
  25. Nostalgia for the '80s - big hair, Madonna, cocaine, big hair, Duran Duran, more cocaine - is all well and good. Unless it's practiced with the charmless ineptitude of Take Me Home Tonight.
  26. The sort of generic crime thriller - stick-figure characters, pointless muddle of plot, people entering and exiting SUVs and Lear jets with a sense of urgency - that feels like it could drag on forever, and drag us down into a purgatory of stupefaction with it.
  27. "The Godfather" without Brando, "GoodFellas" without Scorsese, "The Sopranos" without Gandolfini - 10th & Wolf is all that, and less.
  28. Williams, going full throttle as the desperate deposed kiddie icon Rainbow Ralph, is, well, simply exhausting.
  29. The aquatic and surf scenes are spectacular. The story, a clichéed climb to inspiration. Soul Surfer is more parable than plot.

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