Philadelphia Inquirer's Scores

  • Movies
  • TV
For 3,696 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: 68
Highest review score: 100 Lost in Translation
Lowest review score: 0 Surviving Christmas
Score distribution:
3696 movie reviews
  1. A merrily macabre things-we-do-for-love yarn.
  2. 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.
  3. Gyllenhaal is particularly unsuited to this role, his saucer eyes flashing from calm to crazed.
  4. A rambling depiction of a junkie's descent into zombitude.
  5. And did I mention that it's long? It's long.
  6. An elaborately worked-over opus that's as tarted-up and artificial as Scorsese's '70s classic Mean Streets was gritty and real, Gangs of New York feels like a movie musical without the songs.
  7. Alas, Brick, from writer-director Rian Johnson, isn't as clever as its conceit.
  8. Feels downright ancient.
  9. Aspires to the devilish crudity and unfettered social commentary of South Park. But Zwigoff's direction lacks the exaggerated cartoonishness necessary.
  10. Less a Holocaust retribution fantasy than a messy homage to war movies, and to movies, period.
  11. It's hard to know whom to blame for this futile exercise: Morris or Rumsfeld.
  12. Given the filmmaker's privileged perspective of hindsight, to not consider the real-world repercussions of their theater, to not connect the dots between 1968 and 2008 is a squandered opportunity.
  13. Structurally and narratively amputated, Volume 1 retains head and guts but loses its heart and gams to the second installment. Maybe Tarantino figured that Thurman's legs, as long as the Mississippi, were sufficient to carry this half of a movie.
  14. An epic work of self-indulgence and smug riffing, stringing together tropes from TV and screen westerns and closed-room whodunits, The Hateful Eight announces itself with all the pomp and circumstance of a mid-century cinema spectacle.
  15. For the casual viewer who feels like maybe all the Sith hoopla is worth checking out, well, it's like tuning in to the season finale of "24" without having watched a minute of its lead-up episodes.
  16. While Last Days succeeds as a nature documentary, Van Sant fails to penetrate human nature. The result is a portrait without a face.
  17. A sappy excursion to Edwardian days.
  18. A sloppy, sentimental story line and pivotal plot turns that are only sketchily realized undermine the life-on-the-road misadventures.
  19. Over the Hedge isn't by any stretch bad. It's just banal.
  20. Moderately scary, moderately amusing, intermittently dull and obvious, Diary of the Dead is not groundbreaking, nor even ground-quaking.
  21. Jonathan and Christopher Nolan's adaptation of this novel by Christopher Priest offers three acts of exasperating muddle.
  22. To the delight of gadgetheads and the dismay of the rest of us, Spy Kids' paraphernalia is better developed and considerably more fun than its story.
  23. Miami Vice, the movie, is an atmospheric muddle, as gorgeous and unintelligible as raven-haired stunner Gong Li.
  24. Thornton swills the Matthau role with the unslakable thirst of W.C. Fields and idiosyncratic sexuality of Johnny Depp. So this is what Bad Santa does during the off-season.
  25. Gimmicky artifice.
  26. Half enjoyable goof, half an uncomfortable panorama of urban terrorism that just doesn't sit well after Sept. 11.
  27. While these individually diverting factors add up to a good time, they don't add up to a good movie.
    • 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.
  28. So deadpan a film is Napoleon Dynamite, the story and the name of a gangly high school misfit in Preston, Idaho, that I can't say whether it was intended as a character study or a comedy.
  29. The twist of Harold & Kumar Go to White Castle, a laugh-out-loud if not-exactly-good stoner comedy, is that its heroes, an entry-level investment banker and a brainiac pre-med student, are not dimwits.

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