Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,909 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 The Constant Gardener
Lowest review score: 0 Isn't She Great
Score distribution:
3909 movie reviews
  1. A silly melodrama.
  2. Rian Johnson's film is a scam wrapped in a sham.
  3. 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.
  4. The Purge: Election Year tries to show that what counts isn't firepower but compassion, not egoism but community. But frankly, it can't help but shoot itself in the foot: The violence is too tantalizing, too stylized, too fetishistic - the film features killers dressed in fanciful Halloween costumes who dance and sing as they dismember people.
  5. Promised Land is a frustrating film to watch. It should be better than this, smarter than this.
  6. Overstocked farce.
  7. 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.
  8. 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.
  9. 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.
  10. The irony of Anesthesia is that, while it uses interconnectivity as a storytelling mechanism, the characters do not really connect.
  11. 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.
  12. An overobvious and underwhelming satire about American consumerism run amok.
  13. 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.
  14. 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.
  15. 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.
  16. While Scott's movie has a consistent aura, it lacks a consistent tone. What are we to make of the movie, gauzy as a mist-shrouded lake and brutal as "Lord of the Flies?"
  17. A lush, lovely snooze-fest.
  18. Finally - and the news should really come as a relief - here is a role Streep should not have tried, in a movie that should not have been made.
  19. 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.
  20. Only in its aggressively imaginative profanity is the film consistent.
  21. A crude, cringe-worthy, and intermittently funny affair that triggers the gag reflex. I sincerely can't tell you whether I was choking with laughter or keeping from choking.
  22. All that's missing is the spirit and the anarchic humor of the sitcom created by Mel Brooks and Buck Henry. The result is an overdressed, carefully stitched scarecrow of a comedy.
  23. One of the most uncinematic pieces crafted by an otherwise fine stylist, Cymbeline befuddles with its ineffective blocking and lack of art direction.
  24. Bobby has its heart in the right place (on its sleeve). But it doesn't have its screenplay anywhere - or at least, anywhere near the heft that its subject demands.
  25. A sweet, if predictable, kids' comedy. But you have to overlook the conveniently inconsistent behavior of all the characters - except in Garner's case. She never establishes a character.
  26. If it were a landscape painting, Gerry would deserve a place in the National Gallery. But as a movie...deserves its own wing in The Old Curiosity Shop.
  27. Despite a great cast and several terrific action sequences, Fuqua's film is largely forgettable.
  28. Rock Star sinks into a morass of melodrama.
  29. Despite a terrific performance from Shane West, who bears an uncanny resemblance to Crash, Secret is a chronology, not a biopic.
  30. The big shift between Carpenter's B-movie and filmmaker Jean-François Richet's comic book-style remake is that instead of a troop of bloodthirsty gang members encircling the precinct, the bad guys here all look like good guys.

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