Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,403 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 5.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Moneyball
Lowest review score: 0 Surviving Christmas
Score distribution:
3,403 movie reviews
  1. Ann Savage, the femme fatale from a slew of old Hollywood noirs, is savagely funny as Maddin's beauty-parlor proprietress mom.
  2. A chase movie, a spy movie, a futuristic thriller full of colorfully bizarre characters and deftly choreographed stunt work, Children of Men works on multiple levels - as action and allegory.
  3. A slow-burning, character-rich study in desperation, grief, vengeance, loyalty, and love. It's the sort of arthouse entry - in German, mostly - that gets you thinking about an English-language remake.
  4. It's never entirely clear whether Borchardt is also an object of ridicule for documentarian Chris Smith.
    • Philadelphia Inquirer
  5. A dour-faced but sublime comedy about the kindness of strangers -- and about the strangeness of people who find themselves in oddball moments of grace.
  6. The usual complaints and caveats about Anderson - he's precious, his characters have no grounding in the real world - can be made about Moonrise Kingdom, but so what? This is his seventh feature, he has been working with a gang of collaborators in front of the camera and behind, and his worldview gets richer, and more revealing, even as the view from his lens gets smaller, closer, almost two-dimensional in its oddball tableaux.
  7. Trueba's movie is nearly undone by its shapelessness. Because the filmmaker imposes little in the way of form (or drama) on his subject, his film is a good listen without being a particularly good watch.
    • Philadelphia Inquirer
  8. Steeped in quiet despair, Lantana is a psychological thriller that emphasizes the psychology over the thrills. It's a smart, heart-twisting picture.
    • Philadelphia Inquirer
  9. The rare movie that manages to convey the inner soul of an artist.
  10. Like Johnny's rants, Naked is a revelation, a parable of spiritual homelessness and the terror it engenders.
  11. For its mesmerizing first two-thirds, Van Sant keeps the film tightly focused on his subject, superbly played by Penn and intimately shot, home-movie style, by Harris Savides. But when the director pulls back to detail Harvey Milk's fight against gay backlash, Milk gets derailed. And - dare I say it? - didactic.
  12. Like this diabolically designed weapon of war, Tanovic's film is coil-sprung to explode on the unsuspecting.
  13. The movie is, start to finish, candy-colored angst.
  14. So incrementally does Eastwood's film build toward what seems like an inevitable resolution that when it concludes, you're sucker-punched. You haven't been watching a police procedural, but a Greek tragedy. You haven't been watching a drama about the catharsis of vigilantism, but sitting vigil for a community diminished, and permanently damaged, by violence.
  15. Quietly and keenly observed, Summer Hours nods to Chekhov's "The Cherry Orchard" (a country estate, a family reunion, an impending sale). Assayas displays a lucid sense of how personal history and family identity are inextricably linked to a physical place - here, to a house that is still busy accumulating its memories.
  16. Late in Looper, when a highly telekinetic kid starts levitating things, it really does look like Christopher Nolan had wandered onto the set and taken over.
  17. By recording this all too commonplace and dehumanizing process, Puiu's film shows the sick old man and the strangers who deal with him to be all too human - extraordinarily so.
  18. The humor of the script constantly confounds expectations, and yet Shrek still manages to say all the right things to children.
    • Philadelphia Inquirer
  19. Kings and Queen, full of passion and humor, madness and grief, is close to a masterpiece. It's like life: messy, impossible, elating, unavoidable.
  20. Insightful and involving.
  21. What this unclassifiable story may lack in decibels, it has in emotional depth. At once a mystery, a family drama, a snapshot of children at risk, Ballast is an unusually perceptive character study more eloquent in action than in dialogue.
  22. Funny as it is fierce, breathtaking as it is life-affirming.
  23. Few American directors drive this wedge between mind and gut as masterfully as Michael Mann.
  24. Clooney has never been better, subtler, more deeply rooted in a performance than he is in The Descendants. And he's funny, too.
  25. A wicked deconstruction of a dysfunctional clan: brothers at each other's throats; a father whose legacy is anger and betrayal; an unfaithful wife; a history of deceit. It's a horror show of hatred and festering psychic wounds.
  26. Stays with you like great movies tend to do. It asks you to examine the inner mechanisms of human beings, cheerful and miserable alike. It's not about looking at a glass half empty or a glass half full. It's about drinking down what's in that glass and letting it fill your soul.
  27. Swinton is delightful in a twisted turn as Wilford's enforcer, a Margaret Thatcherian dragon lady who adores watching her men torture miscreants who have defied the train's No. 1 rule: Know your place.
  28. Ain't nothin' but a party, y'all.
  29. Underlines the nightmare of entrapment so vividly captured in The Day I Became a Woman.
  30. A film full of a sense of impending danger, betrayal, seduction and destruction. Quite simply, it's great stuff.

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