's Scores

  • Movies
  • TV
For 1,373 reviews, this publication has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Ida
Lowest review score: 0 The Starving Games
Score distribution:
1,373 movie reviews
  1. The November Man wants to be taken seriously, except when it doesn't. This creates viewer whiplash. The movie is confused and often untrustworthy.
  2. Too bad that the makers of The Nut Job eagerly purloined Scrat's primal motivation—food—but failed to note the charm of his minimalist approach.
  3. Ride Along really isn't much of a movie, but the quality that makes it mostly watchable, and occasionally enjoyable, is the fact that it seems to know that it isn't much of a movie, and doesn't push against that fact too much.
  4. Molina's story is worth telling. I suspect that, in this form, it will reach some of the at-risk youth who are clearly his target audience. But for myself and most folks expecting a movie, it is too transparent an infomercial for the church to move the mountain.
  5. How badly do you want to see rabid computer-generated zombie-monkeys die violently? Because there's not much else worth recommending in [Rec] 4: Apocalypse.
  6. Plays like an extended tribute to the torture scene in "Reservoir Dogs," a description that alone should tell readers whether they'll find it appealing or not.
  7. Big Ass Spider! wants to serve two masters, the ones who unabashedly enjoy this type of movie without shame, and the ones who openly mock it with false senses of superiority.
  8. Brown's story is a good one, though, and solid performances — especially from star Cuba Gooding Jr. — elevate the film slightly above the familiar trappings of its genre.
  9. While it does have a few things of interest going for it, this low-budget effort ends up arriving at its necessarily predictable conclusion in too many unnecessarily predictable ways.
  10. The action stuff in The Raid 2, while likely to alienate the squeamish and summon dark thoughts of cinematic nihilism amongst overthinking highbrows, really IS like nothing else out there.
  11. The East prizes an initial air of mystery over consistent drama, and as a result ends up squandering its intriguing premise.
  12. Finally, a woman — Sophie Barthes — has directed and co-written a film version of Madame Bovary, but strangely, that doesn’t result in any more richness or enlightenment.
  13. The ratio of humor and action and parent-child bonding is so formulaic, and the character design and molded-figurine-like animation so typical of the genre in the age of Pixar (and Pixar imitators), that Epic evaporates from the mind within minutes of leaving the theater.
  14. If you DON'T go into this movie knowing it's a sequel, you're gonna have at least 20 minutes of rough sledding ahead of you, because there's no recap from the first movie.
  15. I have to give Morgenthaler credit for what we used to call “moxie” — whatever the hell he’s doing, or thinks he’s doing, he’s fully committed to it, and while he doesn’t really pull off the unhinged apocalyptic fireworks he’s reaching for at the end (and I don’t think any director save Andrzej Zulawski, who’s clearly an influence, could pull them off), I give him credit for trying.
  16. Fast 6 is solid entertainment, but it might have been great if it recognized that a human touch is a rare thing, and when you have it, there's no need to keep clenching it into a fist.
  17. Nothing like a trashy, all-hell-breaks-loose onslaught of blood, bullets and babes that borrows inspiration from a recycling bin stuffed with leftovers from ‘60s grindhouse films, Japanese horror, “Kill Bill,” “Saw” and splatter-fest videogames to cleanse one’s visual palate of those highbrow Oscar contenders.
  18. But Live From New York! is required viewing only if the network’s own 3½-hour marathon salute to four decades of skit hilarity earlier this year was not enough of a retrospective for you.
  19. I walked away from My Life Directed by Nicolas Winding Refn having enjoyed the time spent with Refn, his family, and Ryan Gosling, but without any further insight into the production of “Only God Forgives,” filmmaking in general or this particular talent.
    • 43 Metascore
    • 50 Critic Score
    More disappointing, the performances just aren't quite as funny and focused as they should be. Willard and Kind are both very funny guys when they are used right, but they both seem a bit at sea here, and their characters never come into sharp focus.
  20. Most of the rest of the film surrounding it is a conceptually weak and dramatically muddled mess that has acquired a game and good cast and then given them precious little to do.
    • 44 Metascore
    • 50 Critic Score
    The result, I’m afraid, is a big disappointment, a disjointed mess that tries to create a point-counterpoint narrative with these two savvy showmen, which inevitably tips the scales in favoring one of them. The problem is, it’s not the one you think.
  21. Horns would seem like another gamble, and another opportunity to stretch. It’s a supernatural thriller, territory he’s familiar with, but taken to a raunchy, grotesque extreme.
  22. As tedious as Set Fire to the Stars gets, it remains watchable courtesy of the stunning black and white cinematography by Chris Seager.
  23. Never feels as momentous or as angsty as a good story about moody teenagers should, and that's mostly because the film lacks a menacing parental adversary.
  24. Often, Song One feels like the timid B-side of last summer’s more satisfying music-biz saga, the much less woe-is-me and a lot more let’s-have-some-fun “Begin Again.”
  25. It contains nothing to offend, but nothing to surprise or inspire, either.
  26. This cannot end well—we know this—but the major turn Afternoon Delight takes is jarring and irreparable.
  27. Despite having a life story seemingly tailor-made for the big screen, it transforms his potentially fascinating tale into a narrow and borderline fawning hagiography that will no doubt find great favor among his fan base, while inspiring shrugs of indifference from those less invested in his tale.
  28. These are tantalizing glimpses, hinting at the deeper psychological abysses at play here, but they are left unexplored.

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