Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,941 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 4.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Take Shelter
Lowest review score: 0 Rambo
Score distribution:
3941 movie reviews
  1. Polley's performance is pitch-perfect.
    • 70 Metascore
    • 75 Critic Score
    Y&J could have been made anywhere, really; it's a tale of being scared, of being hopeful, of the unsettling intersection between commitment and loss.
  2. Has a dreamy ominousness about it, and a sorrowfulness that speaks to the artificial intimacies of cellular communication, digital images and dial-up porn.
  3. On the plus side are engaging performances by Jason Biggs and Christina Ricci. On the minus side is . . . everything else.
  4. A woefully thin and pointless musical comedy boasting the no-chemistry coupling of Cuba Gooding Jr. and Beyonc?
  5. Edgeless as a marshmallow and twice as syrupy.
  6. Unlike most Sayles movies, the filmmaker no sooner introduces his memorable characters and deeply resonant themes than his From Here to Maternity melodrama abruptly ends.
  7. Assembles varied and remarkable digital video, archival footage, photographs, interviews and personal reflections and academics' perspectives to convey the scope and history of the Tibetan story.
  8. Roth, who has taken more than a few cues from Raimi, David Lynch (whom Roth worked with), and George Romero (Night of the Living Dead), is working in a horror tradition that goes way back -- and he's working it with nasty glee.
  9. Overall, Matchstick Men, which is based on the novel by Eric Garcia, is more memorable for Lohman's naturalistic acting and Scott's mannerist direction than it is for its O. Henry surprise.
  10. Starts having the same effect as one too many tequilas: the Hong Kong-style stunts, the goofy wisecracks, the foxy presence of Eva Mendes -- all of it becomes blurry and numbing.
  11. This year's must-see film.
  12. Abounds with zero-gravity action ballet, frisky interludes of sapphic foreplay, and weepy drama about doomed love. The film also has an irresistibly kitschy theme song: "Close to You," the treacly Burt Bacharach-Hal David smash by the Carpenters.
  13. The film is intermittently funny and strangely intermittent.
  14. Boy, can Harvey Keitel be bad -- and not bad like "Bad Lieutenant," bad like bad acting.
  15. This low-budget, high-gore sequel can be effectively frightening at times, and just plain boring, too. The suspense builds, the blood gushes, the momentum dissipates. It's an unsatisfying mix.
  16. If that sounds a lot like Rushmore, it is, except that the heart has been sucked out of the thing -- replaced by glib chatter, gratuitous Baudelaire references, and distracting product placement.
  17. Chan's signature mix of screwball comedy and gymnastic derring-do landed him his own cartoon series a few years back, and The Medallion -- with its bumbling spies and bounding star -- is about as cartoonish as live action gets.
  18. Unlike most other teen cautionary tales, Thirteen does not accuse merely one villain for the corruption of a minor.
  19. Connoisseurs of giant, gnarled chunks of charred flesh, rejoice! There's plenty of it -- or stuff resembling it -- in the slasher-fest convergence of two killer franchises.
  20. Uptown Girls gives the impression that everyone behind the camera just threw up their hands in helpless resignation.
  21. The film has the dog-eared look of a homemade valentine and the improvised sound of '60s jazz, courtesy of a score by Mark Suozzo and a spirited soundtrack including Marvin Gaye's "Ain't That Peculiar," which might be the film's anthem.
  22. While the situations don't add up to a satisfying film, the characters are pleasing to watch.
  23. The screenplay of Open Range, credited to one Craig Storper, is an awesome compendium of cowboy-movie cliches. It borders on parody, and often crosses the border, rustling up a drove of oater aphorisms.
  24. When it's not making the argument that Surfing = Peace, Step Into Liquid can be diverting.
  25. In this episodic film with a soupcon of "Sex and the City" (just as the Merchant Ivory Slaves of New York presaged the HBO hit), cross-cultural misunderstanding, not character, is the point.
  26. Directed by Clark Johnson in an efficient and occasionally exhilarating style that points to the Emmy-winner's TV cop-show pedigree ("Homicide," "The Wire," "NYPD Blue").
  27. The performances, of a higher order than the film's cheesy script and double-cheese direction, are the reasons to see the picture. A reason not to: the means by which parent and child trade bodies.
  28. A film of haunting eloquence and justifiable fury.
  29. Scott and Davis bring heart-rending sadness and telling detail to their roles, and imbue Secret Lives with something real and true.

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