Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,914 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 5.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The Rape of Europa
Lowest review score: 0 A Little Bit of Heaven
Score distribution:
3914 movie reviews
  1. I'll be darned if I can think of a more excruciating, ponderous, remarkably unfunny and inert cinemagoing experience to come down the pike in ages.
    • Philadelphia Inquirer
  2. How'd this thing get made?
  3. Only Close, in a majestically, maniacally brittle demonstration of Stepford overdrive, has the courage to show how nutty the pursuit of domestic perfection is. In this mess of a film, she is perfection.
  4. I should put in for worker’s comp for the extensive injuries I sustained watching the insulting, abysmal 3-D action thriller xXx: Return of Xander Cage, which left me deeply traumatized and suffering from injuries to my eardrums, my eyes, my mind, my soul, my aesthetic sensibility, and my sense of decency.
  5. From the street corner to the boardroom to the White House, the same paradigms are in play, Brown argues.
  6. Nothing wrong about a movie that says, Stop and smell the roses. Now, if only director Rob Reiner hadn't rubbed our noses in a bouquet of plastic blooms.
  7. The Family is a film at once strange and intriguing. It can't seem to settle on a tone. The early eruptions of violence are treated as slapstick when they are most assuredly not. But the climactic showdown, which fairly cries out for a touch of humor, is played as a tense and grim action sequence.
  8. Freely mixing reality therapy, fairy tale and satire, Dobkin's film does not maintain a consistent tone. Is it a seriocomedy about brothers who need to work on unfinished business? Is it a holiday fable about a Scrooge who comes to surf the yuletide? Is it a satire in which an efficiency expert (Kevin Spacey) puts pressure on St. Nick to outsource gift allocation and distribution?
  9. Morel and his crew certainly know how to stage action: the fight scenes and shootouts, the stairwell pursuits and motorway mayhem, are as good, if not better, than anything to come out of Hong Kong in a long time.
  10. The overwhelming sci-fi action spectacle is a merciless sensorial assault that leaves you with something akin to post-traumatic stress disorder.
  11. The writer-director has the talent to dig deep and lay bare the assumptions behind our idea of justice and our notions of right and wrong. In The Devil's Knot, he settles for an encyclopedic, if skin-deep, presentation.
  12. A very sweet, very slight family movie that scores smiles and tears of joy.
  13. A thriller is only as good as its villain is bad, and this is the film's problem.
    • Philadelphia Inquirer
  14. The problem with NATM:BOTS is that Stiller, Adams, and company seem to be pretending that they're having fun, too.
  15. Orphan, with a perverse plot twist at the end, will keep you on tenterhooks from its nightmarish opening scene to its chilling last frame.
  16. Unsullied was made by a director with real promise. It's a shame Rice picked this turkey to shoot as his first
  17. The best in the latest crop of slasher remakes. Admittedly, that is faint praise.
  18. Wildly ridiculous and thoroughly entertaining thriller.
  19. Nostalgia for the '80s - big hair, Madonna, cocaine, big hair, Duran Duran, more cocaine - is all well and good. Unless it's practiced with the charmless ineptitude of Take Me Home Tonight.
  20. Laughably bad adaptation of a Guy de Maupassant novel.
  21. Tennessee is drenched in melancholy, a trip through a tunnel of pain illuminated by a lone ray of light at the end.
  22. Taken for what it is - 'tweenage escapism - Stormbreaker is moderately fun.
  23. Claustrophobic and overwrought, Jailbait is an unpleasant excursion into gay panic mitigated somewhat by performances that are hard to shake.
  24. Kilcher is lovely. But sadly, Ka'iulani is a perfunctory biopic of the sort one might encounter on television during Women's History Month.
  25. Knowing has about a half-dozen screenwriter credits, which may explain why scenes crash up against one another - smart, stupid, far-fetched, compelling. And the trouble is that Cage walks (or runs) through them all, treating each with the same level of intensely goofy seriousness.
  26. Graced with unusually expressive and seamless voice work by Drew Barrymore and George Lopez, the best of its kind since "Babe."
  27. Too cute for its own good, Larry Crowne is nonetheless hard to dislike.
  28. Too cute by half, the high school comedy John Tucker Must Die is just so likable, so, um, cute - in that helpless-bunny-wabbit sort of way - that to diss it would be to admit being a heartless, cynical Bambi-killer.
  29. A likable and completely dispensable heist film starring two of the deftest comedians working (Keaton and Latifah), the film from Callie Khouri is itself an American retread of the British caper telefilm "Hot Money."
  30. A slaphappy, slapdash type of affair familiar to fans of Cheech & Chong and Pauly Shore. It's your basic object lesson in why marijuana is called dope.

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