Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,922 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 5.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The Triplets of Belleville
Lowest review score: 0 The Mangler
Score distribution:
3922 movie reviews
  1. A breathtaking, disturbing look at urban angst and the emptiness of youth culture.
  2. Boasts another formidable and fine-tuned performance from the great Charlotte Rampling.
  3. Though one gets a sense there is part of the story Marks isn't telling, we do pay attention to the man behind the curtain.
  4. Mr. Holmes is about how the past defines us. It is also very much about regret and trying to put things right.
  5. Cats is many things: a film diary of an odd-couple relationship, a profile of a forgotten man who slowly reconstructs his past, and the transcendently moving account of a man on the margins who gets reintegrated into society.
  6. Disarming, alarming, and more than a little impressive, Shults' movie was shot in his mother's Texas home, and the thing plays like a cross between Eugene O'Neill and a slasher pic. (It's cut like one; the soundtrack makes you feel jumpy like one.)
  7. Late in Looper, when a highly telekinetic kid starts levitating things, it really does look like Christopher Nolan had wandered onto the set and taken over.
  8. I love this movie, and I love the pride, spirit and sportsmanship of the kids who represent the best of American pluck and luck.
  9. The Fighter is funny, ferocious, sad, sweet, pulpy, and violent. Sometimes, all in the same minute.
  10. Guadagnino, who directed Swinton in the 2009 Italian gem "I Am Love," has kept the core premise - and the sensuality - of Jacques Deray's original. (Delon and Schneider go skinny-dipping, too.)
  11. "Shrek" is a scintilla funnier, "Toy Story 2" a hair's breadth more poignant, but "MI" is every bit as imaginative and lovable as these other contemporary animation classics.
  12. Although Me and You and Everyone We Know requires patience on the part of the viewer - to get past the faux naivete of its grown-up characters, to get past its deadpan arty tone - Miranda July's feature debut is worth the time.
  13. Stop-Loss carries the emotional force and propulsive drama of the quintessential soldier's story.
  14. Hugely affecting - and reflective and witty.
  15. A loopy, surreal, beguiling collage of a film, the writer-director's meta-biopic embraces its subject.
  16. A triumph for its director and its star.
  17. While all three principals are perfection, the movie belongs to Cage's Charlie, whose sad beagle eyes dance merrily whenever he sees Yvonne. His is a measured, gravity-bound performance, one that anchors many of the helium-light shenanigans surrounding him and adds melancholy shadings to the brightness of the dialogue. [29 July 1994, p.03]
    • Philadelphia Inquirer
  18. A dazzling documentary.
  19. Still Mine resonates in all the right ways.
  20. So authentic are the subjects, so raw their emotions.
  21. Hanna is a goofy and exhilarating mash-up of all sorts of things. Luc Besson's "The Professional" comes to mind, as do the propulsive synth-syncopations of "Run Lola Run" and the dark allegorical menace of Grimms fairy tales.
  22. Drug War is a deeply intelligent, exhilarating and eminently satisfying adult crime story, one of the best thrillers you're likely to see this year.
  23. It's not a very good title, Waste Land - this isn't a bleak film, at all - but just about everything else in Lucy Walker's documentary works, and illuminates.
  24. Rush, which marks a return to form (and more so) for Howard after plodding through adultery buddy movie comedies (The Dilemma) and Dan Brown sequeldom (Angels & Demons), is almost primal.
  25. Wadjda is a movie about freedom - and nothing represents freedom with the metaphoric simplicity and symmetry of a bicycle.
  26. A breakneck French thriller, Point Blank is so ridiculously successful at keeping its momentum going - and keeping the audience tense with suspense - that it's likely to leave you with your heart pounding, gasping for breath.
  27. The dialogue is smart, screwball, sublime.
  28. While I liked the film's aesthetics and its futurist imaginings, its most important attraction is how it engages. Some movies massage you; others tickle you. This one jacks you into cyberspace, involving you psychically and physically.
  29. Rife with dark humor, Little Otik presents a cautionary variation of the creation myth, and a warning that tampering with the natural order of things may not be such a wise idea.
  30. Valérie Donzelli's Declaration of War deals with issues that may scare audiences away. Don't let it.

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