Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,904 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:
3904 movie reviews
  1. With its improvisatory score (drummer Antonio Sanchez provides a hustling backbeat throughout), its seamless shots, its leaps into the surreal, and then back again into the excruciating, embarrassing real, Birdman ascends to the greatest of heights.
  2. It's a quietly powerful work, pulsing with gentle humor and a gripping sense of imminent calamity and dread.
  3. L'Enfant begins with the birth of a child, but its real concern is the moral rebirth of a man.
  4. Yun's performance is remarkable. The journey Mija takes is painful and hard and - for us, watching - sublime.
  5. In his own profound and ingenious way, Panh has brought the pictures and the thoughts together again.
  6. A frightening portrait of corruption, cynicism, intimidation, greed and violence, Gomorrah is tough stuff.
  7. Brooklyn is that rare period drama that doesn't lose itself in its dogged re-creation of another time.
  8. Always, murmuring just beneath the surface, there's a political undercurrent to Farhadi's films, a gentle whisper of a critique aimed at the weight of Iran's combined cultural and political intransigence.
  9. The dialogue and action in One False Move seems instinctive and unforced. There isn't an iota of caricature, there isn't an affectation of "style," there isn't a false note sounded.
  10. Funny, passionate, full of compassion for its just-pubescent protagonists, We Are the Best! is a total charmer.
  11. The delightful G-rated film has a story line simple enough for pre-schoolers to follow and comic sensibility complex enough for adults to savor, with an emphasis on howlingly bad (by which I mean good) puns.
  12. An honest and personal and unblurred examination (even through that druggy blur) of a tricky voyage into womanhood.
  13. There is incredible tension in this ordeal, this effort to survive, to find rescue, and Redford - an icon of the American film experience for more than half a century now - makes that tension deeply palpable.
  14. Riley's film brings the American icon's career back into sharp focus.
  15. Moreno, with her wide, watchful eyes, owns the camera - and the film. Her performance is perfectly natural and profoundly moving. Maria Full of Grace is a remarkable picture, full of suspense and discovery.
  16. McNamara, a robust conversationalist, is so lively that he bursts out of what is essentially a talking-head documentary.
  17. Disarming, alarming, and more than a little impressive, Shults' movie was shot in his mother's Texas home, and the thing plays like a cross between Eugene O'Neill and a slasher pic. (It's cut like one; the soundtrack makes you feel jumpy like one.)
  18. While Gyllenhaal has playful puppy eyes and energy, his performance as Jack is a blur of mustaches, sideburns and spurs that never achieves the weight of Ledger's.
  19. It's the powerful emotional punch their films deliver - and this one is no exception - that elevate the game, that make them so satisfying, so worthwhile. The Kid With a Bike grabs at the heart.
  20. Although not blessed with a cinematic eye, Yates, a sensitive director of actors, structures his movie like the final movement of a symphony. He reprises themes and characters from the previous films that swell in the epochal siege of Hogwarts and ends his films with an almost wordless coda that will wring tears even from Harry haters.
  21. Caouette's fractured history is imbued with heart-crushing sincerity.
  22. Werner Herzog's magnificent tragedy, Grizzly Man, a Shakespearean character study that packs the sheer terror of "The Blair Witch Project."
  23. This is more than a movie: It's Almodovar's design for living.
    • Philadelphia Inquirer
  24. Funny, furious, and full of front-office drama.
  25. What's up in The Duke of Burgundy is a straight-faced homage to 1970s European erotica, full of soft-focus nudity and soft-core kink.
  26. Wonderfully evocative, funny, sad, complex, and essential passages from a man's childhood and adolescence.
  27. One of the things that distinguishes Love & Friendship from the multitude of Austen adaptations - the worthy and the less so - is its heroine. Lady Susan Vernon, a widow of devilish charms, is as frank and fearless a character as Austen ever imagined.
  28. It's a cinematic feat, an art lover's dream, but as a moviegoing experience, Alexander Sokurov's Russian Ark is something of a letdown.
  29. Never mind a few misguided casting choices; Lincoln is exceptionally good, elevated by a preternatural star turn, and by the energy and invention its director displays in telling a story that doesn't rely on action and special effects.
  30. If you've had enough of the loony tunes coming from Florida, this piece of absurdist serio-comedy is the perfect picture.
    • Philadelphia Inquirer

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