Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,335 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 The Tree of Life
Lowest review score: 0 Isn't She Great
Score distribution:
3,335 movie reviews
  1. So although this multicharacter stew has a tasty morsel or two, in the aggregate it makes one long for the comparative complexity and subtlety of "Valentine's Day."
  2. Scafaria's movie never catches fire. The bad news: The end of the world comes with a whimper. Worse: And two wimps.
  3. Who knows if it was Del Toro's idea, or Stone's, but at a particularly crucial - and criminal - moment, as a very bad thing is about to occur, the actor twirls his mustache menacingly, like a Mexican Snidely Whiplash. Yes, Savages is that kind of story.
  4. Reality aside, The Watch is harmless enough - and even occasionally humorous, in a riffy, sketch-comedy kind of way.
  5. Relying on improv-y riffing and watch-them-coming-from-down-the-block-and-around-the-corner sight gags, The Campaign is intermittently amusing, but more often just interminable.
  6. Obama, it is implied, is deliberately making America more vulnerable to attack from Muslim extremists. No mention is made of the fact that it was under Obama's watch that Osama bin Laden was killed.
  7. The Possession has none of the suspense that made Bornedal's morgue thriller "Deathwatch" such shuddering good fun. And despite the absurdly overwrought Bernard Herrmann-esque score, it has very few genuine shocks.
  8. 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.
  9. Backwards - its title referring to the wisdom that life is lived forward but understood backward - has no forward propulsion.
  10. It's not so much a miscalculation of his audience by Burton as it is a disregard. What lingers after Frankenweenie, far more than its stunning technique, is a sad suggestion of solipsism.
  11. The moral of Taken 2? If you're going on a family vacation, be sure that the human-trafficking ring you put out of business in that far more satisfying and suspenseful thriller from a few years ago doesn't know how to find you.
  12. 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.
  13. This is not about a reluctant hero drawing courage from some deep personal well. It's not about dread and danger. It's about visual effects.
  14. Promised Land is a frustrating film to watch. It should be better than this, smarter than this.
  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. Sly can still fill a too-tight polo shirt at 66 - in the same way Jack LaLanne did in his later years. But no amount of movie magic can make him pass for a lethal and nimble juggernaut.
  17. Elegiac and corny and not really convincing on any level (especially when it comes to its treatment of women - be they hookers, or waitresses, or girls on the town), Stand Up Guys nonetheless holds some fascination just for the off-the-charts affectedness of Pacino's performance.
  18. The script, which needs not just doctoring and could benefit from a spell in the critical-care ward, is full of dress-up and put-downs, and comes alive only when Prinze or Cook are on-screen. In short, She's All That aspires to be Clueless. It succeeds in being clueless.
  19. For all its mayhem, for all the smashing windows and kabooming fireballs, the grenade launchers and giant helicopters, A Good Day to Die Hard not only fails to top its predecessors, it also forgets the basic Die Hard rules.
  20. Not one of Sparks' best flicks (The Notebook is quite good) Safe Haven is marred by film cliches. It has an alarming number of throwaway montage sequences.
  21. The film is at once shamelessly transparent, manipulative, and far-fetched, and impossibly suspenseful. You'll want to take a shower afterward - that's how icky you'll feel.
  22. Am I crazy, or are Spring Breakers and "Oz the Great and Powerful" essentially the same movie? James Franco stars in both - a tattooed, gun-totin' gangsta in one, a charlatan magician in the other (you figure out which is which), and, in both, he's encircled by a bevy of Hollywood babes determined either to get witchy on him, or get that other witchy-rhyming word on him.
    • 65 Metascore
    • 50 Critic Score
    It's a fun ride for the most part, with a bumping soundtrack and genuine moments of warmth and heartbreak. But one can't help but wish Gondry had simply let the camera roll, and let the kids speak for themselves.
  23. A sloppy, sentimental story line and pivotal plot turns that are only sketchily realized undermine the life-on-the-road misadventures.
  24. "There's nothing here!" screams Romina Mondello - Kurylenko's Euro gal pal, walking the deserted sidewalks of this Anytown, U.S.A. Boy, truer words . . ..
  25. There is much of interest in Baumbach's pictures - the confident handling of actors, the introspection, the terra-cotta and teal-painted walls. But what do you call a comedy of manners that's not particularly funny? [19 June 1998, p.04]
  26. No one is bad in The Big Wedding, but no one is remotely believable, either.
  27. Yep, it's all fun and games until someone gets brutalized repeatedly. Before you can avert your eyes, it's Katie, bar the door and break out the chain saws.
  28. There's little of the seen-it-all, wise-guy acerbity that made his character in the X-Men trilogy stand apart from his fellow mutants. Here, he just glowers.
  29. 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.

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