Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,910 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 Spotlight
Lowest review score: 0 Isn't She Great
Score distribution:
3910 movie reviews
  1. Allied comes off like a highlight reel that mimics the look and feel of a whole school of great films, from "Casablanca" to Hitchcock's "Suspicion" and "Notorious."
  2. A movie where the action scenes feel like filler, the romantic leads have little magnetism, and, before long, its metaphysical underpinnings fall to pieces.
    • 60 Metascore
    • 50 Critic Score
    Tumbledown comes up light in the categories that matter most, miring a capable cast in a forced cable-knit folksiness familiar to anyone who has ever watched anything set in New England.
  3. 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.
  4. Life of Crime is like an errant golf putt that appears headed for the hole, but just keeps rolling and rolling, all the way off the green. In other words, just missed . . . by a mile.
  5. It musters both the merits and the drawbacks of the landmark original.
    • Philadelphia Inquirer
  6. Too cute by half (or maybe three-quarters).
  7. Somehow the star emerges from this mess smelling like pure testosterone. You can't stop the Rock.
  8. Zemeckis, who blazed trails mixing live-action with animation in "Who Framed Roger Rabbit," blazes not even a footpath here.
  9. Castellitto directed and stars in this unbearable film, a case study of a surgeon with a raging madonna-whore complex.
  10. If you want to see a Renaissance faire turned into an apocalyptic battlefield, this is the ticket.
  11. Scafaria's movie never catches fire. The bad news: The end of the world comes with a whimper. Worse: And two wimps.
  12. Run All Night isn't dull. The pace is breakneck, and necks get broken. But the violence is relentless, ugly, unredeemed by any real humanity.
  13. Who knows if it was Del Toro's idea, or Stone's, but at a particularly crucial - and criminal - moment, as a very bad thing is about to occur, the actor twirls his mustache menacingly, like a Mexican Snidely Whiplash. Yes, Savages is that kind of story.
  14. The film whipsaws between hyperbolic character study and preachy account of the recent financial meltdown. The two story lines are not well-integrated.
  15. 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.
  16. A horror pic with a new gimmick that likely will spawn an entire subgenre of more substandard rubbish.
  17. However charming Kingsley and Shaw are as the lovestruck pawns and Sorvino as the advancing queen, the premise is less playful than played-out.
  18. "There's nothing here!" screams Romina Mondello - Kurylenko's Euro gal pal, walking the deserted sidewalks of this Anytown, U.S.A. Boy, truer words . . ..
  19. Because the movie is about addictive behavior dulling the pain of grief rather than in the larger drama of dealing with grief, the movie reduces the scope of Hoffman's performance.
  20. Awash in nostalgia and amped-up male camaraderie, Richard Curtis' Pirate Radio takes a great story - the hugely popular offshore radio stations that illegally broadcast pop and rock in 1960s Britain - and turns it into an aggressively irritating floating frat-party romp.
  21. Let's face it: Kids aren't a very demanding audience. If there's color, movement, and a high quotient of silliness, they're happy.
  22. Freeman and Hoskins lend the film a level of artistry it doesn't really deserve. Unleashed has a vivid concept, but savagery and sentimentality make strange costars.
  23. This hotly anticipated film delivers on the premise of its celebrated title. But it offers little more in terms of suspense, originality or enjoyment. Mostly, it lays there on the screen like a big lazy boa.
  24. Full of forced jocularity and drawing-room hissy fits, with its cast parading around in vintage threads and antique cars, Easy Virtue is a close-to-insufferable souffle based on the 1925 Noel Coward play.
  25. The Express eventually reaches its triumph-of-the-human-spirit climax, but it yanks too hard on the heart strings during the long journey there.
  26. The film veers between cutting parody and cliche, threatening to become interesting at any moment, but never quite doing so.
  27. On many levels, Kingsman has the makings of a sure-fire hit. Yet, this is one spy story even the most dedicated addicts of the genre would do well to miss.
  28. 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.
  29. Shrek the Third isn't a movie, it's the extension of a brand.

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