Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,879 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 Room
Lowest review score: 0 Surviving Christmas
Score distribution:
3879 movie reviews
  1. A rambling depiction of a junkie's descent into zombitude.
  2. Harry Connick Jr. acquits himself best of the lot.
  3. It's refreshing to see an actor tell his own story with some real honesty. Overall, however, Tab Hunter Confidential is too much like every other Hollywood True Story out there.
  4. In truth, the only hazardous material to be found in Diana - the title role assumed bravely, if mistakenly, by Naomi Watts - is the screenplay.
  5. Much as I gnashed my teeth during 27 Dresses, I genuinely enjoyed the warmth of Heigl's and Marsden's confident ease. While both might be a few minutes past their star-is-born moment, these troupers with more than 30 years of professional work between them have never shone so brightly. It may sound contradictory, but loved them, hated IT.
  6. Doesn't take itself seriously, and that's a good thing.
  7. Miami Vice, the movie, is an atmospheric muddle, as gorgeous and unintelligible as raven-haired stunner Gong Li.
  8. For all its mayhem, for all the smashing windows and kabooming fireballs, the grenade launchers and giant helicopters, A Good Day to Die Hard not only fails to top its predecessors, it also forgets the basic Die Hard rules.
  9. Either an airless allegory about opportunistic Americans or another one of the director's parables of female persecution. OK, maybe it's both. But life is too short for three hours of misanthropy and misogyny.
  10. Short, sour and scabrous, Bosses is that paradoxical thing: a situation comedy where neither situation nor comedy is particularly effective where nonetheless Jason Bateman is sidesplitting, as is Colin Farrell in a supporting role.
  11. This is not about a reluctant hero drawing courage from some deep personal well. It's not about dread and danger. It's about visual effects.
  12. Edgeless as a marshmallow and twice as syrupy.
  13. Did I laugh? A handful of times. Did I cringe? For 101 minutes.
  14. If there's going to be a "Rush Hour 3," the filmmakers need more of the Ziyi/Sanchez women warriors to punch up the sagging cross-cultural buddy humor of the Chan-Tucker partnership.
  15. The film's recycled nature is most evident in director P.J. Hogan's attempt to marry the farcical hijinks of an "I Love Lucy" episode to an addiction scenario that would not be out of place in "The Lost Weekend."
  16. The Island could be read as a metaphor for societal ills (commercialization, conformity, pharmaceutical overkill) if it weren't so shamelessly dumb. And dumb it is.
  17. The only likable characters are ebullient Omer (Sam Golzari), a show-tune-loving reluctant Iraqi suicide bomber who comes to the O.C., and earnest William (Chris Klein), an American GI wounded in Iraq, who are mirror images.
  18. An uneven, mildly amusing, and highly derivative flick featuring a wonderful, quirky cast as a crew of art thieves who run a complex scam on the art world, and on each other.
  19. A tediously faithful remake of French filmmaker Luc Besson's terrific 2004 international hit "District 13," the Besson-produced Brick Mansions might have been mildly interesting had it been made a decade ago.
  20. It musters both the merits and the drawbacks of the landmark original.
    • Philadelphia Inquirer
  21. Yet another Hollywood serving of everyman pluck, sports division.
  22. Heights manages to make the lives of all these beautiful people seem quite tedious. Despite their accomplishments, the only thing they seem suited for is hailing cabs.
  23. This should have been an easy knockout. Yet the pieces just don't fit together. Hands of Stone lurches back and forth between well-crafted dramatic scenes and shabby, cliché-ridden sequences that sap the viewer's energy.
  24. Filled with close-ups of Jesus and his apostles (all the better to hide the absence of elaborate period sets), mixing quotes from the Scripture with flat exposition, this low-budget affair is earnest and, alas, more than a little bit cartoonish.
  25. Directed by Terrence Malick's editor and protégé, A.J. Edwards, The Better Angels abounds with Malick-ian moments: upward-pointing cameras capturing bodies wheeling through fields, plaintive voice-overs punctuated by Jew's harp and birdsong, a tendency to drift toward the sky and its moody tableau of clouds.
  26. Aspires to the devilish crudity and unfettered social commentary of South Park. But Zwigoff's direction lacks the exaggerated cartoonishness necessary.
  27. Thank goodness for Leslie Mann. If not for the nutball charm of this tight-wound whirlwind, the dispiriting Hollywood sex comedy The Other Woman would be close to unbearable.
  28. With his beard and '70s clothes, Reynolds looks like Val Kilmer playing Jim Morrison. Before things go precipitously south, he gives an endearing performance that proves he's ready for far more substantial roles than Van Wilder.
  29. Two Night Stand, is a clever, if uneven, romcom about Generation Y's conflicted, paradoxical views of sex and love. Featuring strong dialogue and terrific performances, the film has moments of near-brilliance, but falls apart with a lame, conventional ending.
  30. A curious screwball "noir," doesn't so much bend established genres as blend them into an unappetizing cocktail, where they curdle before pouring.
    • Philadelphia Inquirer

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