The Dissolve's Scores

  • Movies
For 1,375 reviews, this publication has graded:
  • 34% higher than the average critic
  • 7% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 The Word
Score distribution:
1,375 movie reviews
  1. There’s no other movie quite like it.
  2. Her
    Her is a 21st-century love story that perfectly captures the mood of the times and finds new inroads into the exhilaration and heartbreak that have existed since the first “I love you.”
  3. This movie is a portal, leading to a living museum of childhood at its most poignant.
  4. If Fury Road were only interested in action, it would still be a stunning achievement, but the film has more on its mind.
  5. A singularly beautiful nostalgia piece that radiates with love and sadness, and doesn’t extract one type of feeling from another. It’s a film of aching bittersweetness, impeccably realized, past perfect.
  6. Debut features are rarely this confident and accomplished, much less such a perfect blueprint of what to expect from a filmmaker down the line.
  7. This film confirms that Panh approaches the past not as a historian, but as an artist, and an exceptionally vital one at that.
  8. Where Barton Fink sometimes resembled a horror movie, Inside Llewyn Davis plays like an elegy. Its conclusions are more regretful than angry, and while the conflict between art and commerce is no less central, there’s much more emphasis on that conflict’s personal toll.
  9. For all of its provocatively cerebral ideas, the prevailing truth is that Goodbye To Language is actually a great deal of fun—not just to think about, but also to experience. It’s “Godard: The Ride.”
  10. Captain Phillips could have stopped at simply depicting what happened; it’s the steps it takes to examining why it happened that make it extraordinary.
  11. In a spy story, Bethlehem insists, there are no good guys or bad guys, and no victor—just day-in, day-out deceit and betrayal, the weary work of hate.
  12. Shot over five nights in a single location, and almost entirely improvised, Coherence is no-budget filmmaking at its most delectably inventive.
  13. What really sets The Immigrant apart is how urgent it feels. Historical dramas often have a reserve that comes with perspective, but nearly a full century removed from this story, Gray seems, if anything, more emotionally invested here than in his contemporary dramas.
  14. It’s a film that captures humanity at its best and its worst, sometimes simultaneously.
  15. What makes The Duke Of Burgundy so affecting is how deftly Strickland and his remarkable actresses bring something as exotic as lesbian S&M into the realm of the ordinary and relatable. Viewers can see themselves in Cynthia and Evelyn, whether they’re hand-washing each other’s undergarments or not.
  16. Leigh’s generous approach to capturing the fullness of Turner’s life, through unhurried rhythms and scenes, makes Mr. Turner memorable.
  17. This isn’t merely about the follies of a misanthrope, it’s an epic tragedy about life in the Ivory Tower and the inability to understand—much less empathize with—other human beings.
  18. Östland writes the conflict between husband and wife beautifully, like a scab that gets picked at until it bleeds, and he does things cinematically, too, to suggest the growing distance between them—an already-cool visual palette broadens like a yawning chasm.
  19. As in all of Wright’s films, the surface is just as satisfying as the subtext: hilarious comedy, compelling character drama, eye-popping visuals, and a juicy science-fiction story.
  20. George Washington is a mood piece first, and its triumph is in bottling up the intense feeling of early adolescence, and watching how tragedy transforms it.
  21. Gone Girl reveals itself as an optimal meeting of the minds, a perfect amalgam of a writer and a director with complementary fixations.
  22. Even when the plot kicks in and the stakes get raised, there’s a casualness to Guiraudie’s approach that’s singular and admirably defiant of genre expectations. He’s setting a scene. Tension insinuates itself later.
  23. Farhadi isn’t interested in judging his characters so much as comprehending them in all their complexity, and registering the consequences of their actions, particularly on children.
  24. It all serves a portrait of 1970 California that mixes absurdity with an air of looming cataclysm, a volatile formula that wouldn’t work without Phoenix’s performance.
  25. Listen Up Philip doesn’t care to be liked. And in that, it deserves to be loved.
  26. It’s a classic tale of survival that draws on how movies, in the right hands, can make viewers see the world through others’ eyes, and to feel what keeps them grasping as it threatens to slip away.
  27. Only Lovers Left Alive accomplishes the neat trick of reinventing a moribund genre as a distinctly Jarmuschian hangout movie.
  28. DuVernay stages well-known public events like the “Bloody Sunday” march with scrupulousness, scope, and a gut-wrenching visceral power. But Selma’s true success is as a chamber piece, not a thundering historical epic.
  29. It’s emotionally and sexually explicit, as raw as an exposed nerve at times, but Adèle and Emma have public lives as well as private ones, and the film’s great achievement is holding them in balance and observing how they relate to each other.
  30. The extraordinary achievement of Under The Skin is that while Laura develops some human qualities, Glazer resists the temptation to turn this alien’s story into the story of what it means to be human.

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