Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,609 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 5.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Rambo
Score distribution:
3,609 movie reviews
  1. There are sniff movies and there are snuff movies, but Perfume: The Story of a Murderer is both. It has the bouquet of balm and blood. Imagine "Fragrance of the Lambs."
  2. Not even Halle Berry, emerging from the blue Caribbean in an orange two-piece -- can bring this thing to life.
  3. For high-speed action, eye-popping locales, and chopsocky fight-fests galore, watch The Transporter - on video.
  4. The movie pulls off the worst kind of con: the one that disappoints.
  5. The movie name-drops the cool stuff, the rebels of word and song, but the essence of the story and the cardboard characters who inhabit it are as mundane as can be.
  6. Non-Stop gets increasingly far-fetched as the jet makes its way across the Atlantic. Certainly, there are more red herrings on the plane than there are in the sea below. And Neeson has to stare down every last one of them.
  7. Joltingly graphic and atmospheric (Nixey and his crew at least know how to set up a few good shocks), Don't Be Afraid of the Dark fails to involve us in any meaningful way with its characters.
  8. It falls short of the mark, even as it hits every one of the genre's conventions.
  9. At the film's inconclusive conclusion, the filmmakers strand Erica and Sean in the moral twilight.
  10. A great story - and a true one, more or less - Bottle Shock nonetheless fails to deliver much in the way of entertainment.
  11. The material is so charged that it threatens to electrocute any who would touch it. Yet from the moment that Bette Midler, as Bernice the bio-Mom, appears, she becomes the instrument of its emotional release, catharsis teetering on high heels.
  12. If Manglehorn is to be remembered at all, it shall be for the excruciating first date that its title character goes on with a chirpy bank clerk he has long been chatting up. Her name is Dawn, and she is played by Holly Hunter.
  13. W.
    Unlike the filmmaker's previous stabs at presidential biopic-ing and conspiracy theorizing - "JFK" and "Nixon" - this one doesn't have the luxury of historical perspective.
  14. By the halfway mark, Rogen's performance, like his voice, is less cuddly than grating, and the carbonated giggle that is Elizabeth Banks grows flat. This one's for the Smith cultists.
  15. At least an hour of Man of Steel's excessive running time is devoted to the sort of crash-and-burn, slamming-into-skyscrapers CG fight scenes that we've already seen in "The Avengers" and "Dark Knight," "Iron Man," and "Spider-Man." Man of Steel is just the same old same old.
  16. The main distinction of this particular raunchfest, about the economic opportunities available to women in the phone-sex industry, is that it does not reconcile its slim narrative conflict with a big, fat wedding.
  17. Visually immersive but emotionally uninvolving.
  18. A silly melodrama.
  19. Rian Johnson's film is a scam wrapped in a sham.
  20. Cloud Atlas is pop spiritualism, comic-book grandiosity, Zen for dummies. I can't say I didn't enjoy it on some level, but it's not the level of universal wisdom the Wachowskis and Tykwer would have us be on.
  21. Promised Land is a frustrating film to watch. It should be better than this, smarter than this.
  22. Overstocked farce.
  23. Despite a winning performance by Anna Faris, the cutest thing in platform shoes since Goldie Hawn, the film falls on its keister so many times that before long the perky pinkness turns bruising black-and-blue.
  24. One reason to see Rendition is for Naor's stunning performance as the torturer who is the one character aware of the political and moral contradictions of what he's doing. Every time he was on screen, he commanded it.
  25. Perfect Sense is a very conventional love story wrapped into a slightly more quirky, apocalyptic yarn and lightly dusted with a touch of true originality.
  26. If only the screenplay had more going for it than hackneyed homilies and living-in-the-ghetto stereotypes. If only first-time director Sunu Gonera had a surer hand, a knack for something bolder, wilder, goofier.
  27. An overobvious and underwhelming satire about American consumerism run amok.
  28. There are so many things wrong with Luhrmann's Great Gatsby - the filmmaker's attention-deficit-disorder approach, the anachronistic convergence of hip-hop and swing, the choppy elision of Fitzgerald's plot, the jarring collision of Jazz Age cool and Millennial cluelessness. But at the crux of things, the problem is that it's impossible to care.
  29. For all its visual delights, Magic in the Moonlight, the 44th feature written and directed by the admirably industrious Woody Allen, has to be one of his bigger duds.
  30. Almost certainly, The Last Stand will not be Schwarzenegger's last. For better or for worse (and this is somewhere right in the middle), he is back.

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