Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,403 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: 67
Highest review score: 100 The Rape of Europa
Lowest review score: 0 Isn't She Great
Score distribution:
3,403 movie reviews
  1. A beautiful, appropriately loping little gem about growing older, daring to take risks and follow your heart. That probably sounds corny, and The Straight Story is.
  2. That rare thing, a Hollywood teen flick transfigured into something like pubescent scripture: In the beginning, there was lust; in the end, there is knowledge.
  3. When it comes to the realistic portrayal of the complex process of grief, most actresses are at a loss. Sissy Spacek is decidedly not most actresses.
  4. A quiet, heart-rending masterpiece, one with an actor's turn that people will remember, and rediscover, eons into the future.
  5. An awesome cinema spectacle.
  6. Sunnier and sillier than most of Allen's recent work, makes its belly laughs heartwarming. It's a most winning movie about losers.
  7. With its knowing take on men, messed-up romance and music, is like one long, hook-filled pop song for the eyes.
    • Philadelphia Inquirer
  8. A slo-mo gem of gangster cool, of vintage Hollywood noir reimagined by a French new waver in love with American cars, American jazz, and the kind of trench-coated tough-guys embodied by Humphrey Bogart and Robert Mitchum.
  9. A bracing, unblinking work that serves as a painful elegy and sobering cautionary tale.
  10. It's a stunning Roman triumph.
    • Philadelphia Inquirer
  11. A flat-out electrifying experience.
  12. An elusive and profoundly moving essay about the stages of amour and of age. Like the best of Godard's movies -- and I haven't been sucked into one since "Passion" (1982) -- it is visually ravishing, penetrating, impenetrable.
  13. Aronofsky has fashioned a chilling vision that lives up to the caustic irony of its title and gives us a nightmare that is not lightly forgotten.
  14. The humor of the script constantly confounds expectations, and yet Shrek still manages to say all the right things to children.
    • Philadelphia Inquirer
  15. It is with gravity and levity and incomparable grace that Ang Lee's Crouching Tiger, Hidden Dragon -- by light years the best movie of 2000.
    • Philadelphia Inquirer
  16. With its feverish, percussive soundtrack and bravura cinematography, is like a bolt from the blue, chock-full of unexpected delight.
  17. Wondrously strange and just plain wonderful.
  18. A knockout...So feverish is Fight Club...that thermometer contact might make mercury shatter.
  19. A standout.
    • Philadelphia Inquirer
  20. The movie is, start to finish, candy-colored angst.
  21. This year's must-see film.
  22. This sad, staggering drama should be seen: out of the grimness, and the profound calamity, you can almost taste life in your mouth.
  23. Not only is it the best documentary in a vintage season for nonfiction films (see "American Splendor," "Capturing the Friedmans," and "Spellbound"), it's also one of the best films of the year. It's as lyrical about the particulars of Kahn as it is about the universals of fathers and sons.
  24. With a bit of Tintin and Tati, Charlie Chaplin and Wallace and Gromit echoing in the pacing and comic sensibility, Triplets of Belleville conjures up a world that's totally surprising and sublime.
  25. A beautiful eyeful of puckish whimsy and dark-humored mystery, Hukkle (it means hiccup in Hungarian) is a little gem in which nature and humankind commingle, where coincidence and causality collide in a chain of odd, even murderous, events.
  26. It's a masterpiece.
  27. It's a trippy but tender examination of human emotions, relationships, all-consuming love.
  28. At turns funny, sweet, sad, trenchant and telling. It's a gem.
  29. It's strong stuff.
  30. It's great to see an American filmmaker - and a successful one at that - willing to simply train his cameras on the actors and let them, and their characters, come to life.

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