Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,374 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 5.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Deliver Us from Evil
Lowest review score: 0 Surviving Christmas
Score distribution:
3,374 movie reviews
  1. Hesher has its genuinely affecting scenes, but too much of the time it feels false and shallow.
  2. Did I laugh? A handful of times. Did I cringe? For 101 minutes.
  3. Short, sour and scabrous, Bosses is that paradoxical thing: a situation comedy where neither situation nor comedy is particularly effective where nonetheless Jason Bateman is sidesplitting, as is Colin Farrell in a supporting role.
  4. It's not that Salvation Boulevard is bad: It's quite funny at times and has some good performances. But it's so predictable it has no bite, either as social satire or as slapstick comedy.
  5. Like the kids in detention, The Change-Up wants to offend your sensibilities. It sets new records for scatological humor and profanity.
  6. This is a straight-up gangsta film, yo. Spare us the phony redemption.
  7. Eisenberg (who starred in director Fleischer's far better Zombieland) does his usual Eisenbergian thing, more slacker and less hacker, but still hitting the same notes. And Ansari squawks and yelps, like a parrot with a grudge.
  8. Director Steven Quale is economical: He ditches plot altogether, delivering instead nothing but set pieces. He does come up with a few genuinely creepy moments of Hitchcockian edge-of-your-seat suspense and a few very inventive deaths.
  9. As in "An Education," Scherfig's settings are unshowy, imparting period flavor without overwhelming what is, ultimately, an underwhelming film.
  10. Joltingly graphic and atmospheric (Nixey and his crew at least know how to set up a few good shocks), Don't Be Afraid of the Dark fails to involve us in any meaningful way with its characters.
  11. Until Seven Days in Utopia sucker punches you with a surfeit of faith-based platitudes, its upbeat brand of golf mysticism isn't altogether unappealing.
  12. Loaded with careening car chases and rooftop runs, glass-shattering shootouts and exploding fireballs, Killer Elite offers more than enough to keep action junkies happy.
  13. In some scenes, Faris' sheer velocity gives the movie liftoff. In others, it doesn't hurt that Evans, who looks like the very young Alec Baldwin, and has the sonorous voice of Mark Feuerstein, is the film's sex object.
  14. By the end of Machine Gun Preacher, its title character has become a cartoon.
  15. If illuminating dawns and dusks had basked Mia Wasikowska and Henry Hopper in a rosy glow, the mopey cuteness of Restless would have been too much to bear.
  16. The best thing about The Thing, the third - and the least interesting - big-screen adaptation of the John W. Campbell Jr. short story "Who Goes There?", is its closing credits.
  17. In Time is that kind of movie: Philip K. Dick for knuckleheads.
  18. An airless, bilious, endless pageant of pseudohistory.
  19. By turns pleasant and preposterous, The Greening of Whitney Brown is a reverse Cinderella tale for tweens.
  20. Feels more like a postscript than a probing, provocative documentary.
  21. It would be inaccurate to say there are plots in New Year's Eve. There are a number of setups, and these get shuffled through faster than a card dealer in Atlantic City.
  22. While The Sitter isn't that dumb, or dreadful, there really isn't much going on here.
  23. Virtually every set-up and set-piece in this extravagantly tedious adventure is misleading, or worse, irrelevant.
  24. A big comedown from "The Fighter," Contraband finds Wahlberg in default mode: With his Popeye biceps and broody stares, the actor can do a character like Chris without even thinking about it - and that's what he does here.
  25. 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.
  26. The Woman in Black has lovely period atmosphere. Unfortunately, it doesn't have much else besides atmosphere.
  27. Madonna the director deserves a script better than the one Madonna the screenwriter handed off to her. The movie is full of incidents that don't quite cohere into a story - kind of like a Power Point presentation without a throughline.
  28. 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."
  29. Scafaria's movie never catches fire. The bad news: The end of the world comes with a whimper. Worse: And two wimps.
  30. 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.

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