Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,339 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: 68
Highest review score: 100 The Battle of Algiers (re-release)
Lowest review score: 0 Surviving Christmas
Score distribution:
3,339 movie reviews
  1. Shot on the cheap, with cheesy animated credits and comic-panel "Bams!" and "Pows!" splashed across the screen, Super has a jokey, low-rent quality (or lack of quality) that could be endearing, if Wilson's performance weren't so nihilistically dull, and if there were somebody in the picture who had a soul.
  2. Speechy and preachy and just a teeny-weeny bit naughty.
  3. The offbeat comedy is not entirely devoid of charm, but its derivativeness is almost embarrassing.
  4. Hopped up like a kid on a sugar rush, Hoodwinked Too! tries to emulate the "Shrek" formula - mashing Hans Christian Anderson and the Brothers Grimm with pop-culture references and wisecracking anthropomorphic sidekicks.
  5. Hemsworth looks a good deal more like NFL receiver Jeremy Shockey than he does the immortal Avenger.
  6. To paraphrase one of its few laughs, it's a zombie movie directed by Vera Wang.
  7. While Scott's movie has a consistent aura, it lacks a consistent tone. What are we to make of the movie, gauzy as a mist-shrouded lake and brutal as "Lord of the Flies?"
  8. Hesher has its genuinely affecting scenes, but too much of the time it feels false and shallow.
  9. Did I laugh? A handful of times. Did I cringe? For 101 minutes.
  10. 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.
    • 35 Metascore
    • 50 Critic Score
    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.
  11. Like the kids in detention, The Change-Up wants to offend your sensibilities. It sets new records for scatological humor and profanity.
  12. This is a straight-up gangsta film, yo. Spare us the phony redemption.
  13. 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.
    • 50 Metascore
    • 50 Critic Score
    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.
  14. As in "An Education," Scherfig's settings are unshowy, imparting period flavor without overwhelming what is, ultimately, an underwhelming film.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. By the end of Machine Gun Preacher, its title character has become a cartoon.
  20. 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.
    • 49 Metascore
    • 50 Critic Score
    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.
  21. In Time is that kind of movie: Philip K. Dick for knuckleheads.
  22. An airless, bilious, endless pageant of pseudohistory.
  23. By turns pleasant and preposterous, The Greening of Whitney Brown is a reverse Cinderella tale for tweens.
  24. Feels more like a postscript than a probing, provocative documentary.
  25. 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.
  26. While The Sitter isn't that dumb, or dreadful, there really isn't much going on here.
  27. Virtually every set-up and set-piece in this extravagantly tedious adventure is misleading, or worse, irrelevant.

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