The Dissolve's Scores

  • Movies
For 620 reviews, this publication has graded:
  • 35% higher than the average critic
  • 11% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 4.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Lowest review score: 0 Tyler Perry's A Madea Christmas
Score distribution:
  1. Negative: 79 out of 620
620 movie reviews
  1. You Will Be My Son works best when it’s at its most unforced, and when the world of wine-making—with its anticipation of the season’s cycles and its fascination with subtle changes in flavor—intersects naturally with the life of a European business leader who has skewed priorities.
  2. Inch’Allah tries hard, and serves up a few moments of compelling specificity, but for the most part, it has little to offer beyond good intentions. For a subject this daunting and knotty, that isn’t nearly enough.
  3. This is the rare martial-arts film where the martial arts are tedious and the conversations more compelling.
  4. Mauriac’s portrait of a society obsessed with family honor and the appearance of propriety at all costs comes through strongly, but that can’t entirely compensate for a character study with a hard-working vacuum at its center. Like Keanu Reeves, Tautou requires a perfect fit; when she tries to stretch, she gets stranded.
  5. It’s a slickly packaged, proficient thriller first, political statement a distant, speck-on-the-horizon second.
  6. It’s well-intentioned, but it’s all diagnosis, no prescription.
  7. While Good Ol’ Freda will surely fascinate hardcore Beatles fans, there simply isn’t a feature-length story here.
  8. A Teacher feels a bit like watching some fool cross a busy freeway on foot over and over again for an hour and change. There’s little to do but await the inevitable splat.
  9. There’s a wealth of information in My Father And The Man In Black, but Holiff’s directorial choices don’t always help in conveying them.
  10. Populaire’s initial appeal comes largely from its airiness, and it simply doesn’t have the heft or gravity to tackle weightier emotions.
  11. There’s an overlay of gender politics, but it isn’t so firmly ingrained in the material that it transforms Levine’s throwback ’80s slasher film into a much nobler, more thoughtful endeavor.
  12. A film that veers between caustic comedy, melodrama, and heartstring-tugging, without finding the spark of sympathy that would hold the film together around its disparate tones.
  13. Gandolfini delivers a funny, poignant performance befitting a great actor. It’s heartbreaking that the film doesn’t measure up to his exemplary turn.
  14. Just as the documentary doesn’t really have the goods when it comes to solving the photograph’s mysteries, it only skims across the surface of what the picture represents.
  15. It isn’t good by any stretch of the imagination, but B-movie lovers who like their dance movies flashy, fun, and spectacularly dumb shouldn’t mind.
  16. An advocacy doc constructed to make a clear political point first and function as a film a distant second.
  17. Ultimately, all the metafictions and social commentary are too vague to have any meaning, beyond giving Johnson a foundational justification for this movie. But while The Dirties is in some ways appalling, it’s also effective.
  18. Where before, Porterfield seemed to be recording life as it’s lived, here, he’s mostly recording plot. The difference is glaring.
  19. The best parts of Runner Runner feel like a Rounders facsimile—right down to the metaphor-heavy narration—and the worst seem like a case of mission drift, as if the filmmakers set out to make a behind-the-curtain thriller about online gambling, but got hung up in paying off the plot.
  20. Lumpy is the nickname of a significant character (the eponymous best man, in fact), but it’s also a fair description of the movie itself: an earnest-bordering-on-sappy serving of dramatic oatmeal with ungainly chunks of broad comedy thrown in here and there.
  21. Zero Charisma is a comedy by classification, but its cruelties have a way of turning it into a psychodrama inadvertently. The tone is often as abrasive as its hero.
  22. All the horror hallmarks do little to compensate for a dearth of genuine scares or surprises, and DiBlasi’s workmanlike approach isn’t distinctive enough to transcend the script’s clichés.
  23. As a stand-alone documentary, it begs for more conflict and a broader canvas from which to explore the contemporary theater scene.
  24. It’s all tasteful and polished to a fault, but it feels like exactly what it is: an abbreviated version that preserves the high points, zips past the rest, and never approaches the depth of the full text.
  25. After performing many narrative backflips in an attempt to lucidly resolve things, Haunter eventually settles for half-baked uplift that renders much of what came before ridiculous and nonsensical.
  26. Of all the possible ways Diablo Cody’s directorial debut might fail, perhaps the least likely was that it would be innocuous enough to potentially bore the audience into a stupor.
  27. Every time Peaches Does Herself seems to be falling into an inescapable rut of sneering and shock, Peaches comes up with with an image that deepens the whole endeavor.
  28. Despite the talent involved and the notoriety of the source material, Carrie feels strangely small, even television-sized.
  29. Hellbenders mostly feels like a doodle, an amiable lark that will amuse genrephiles and anyone else with their sights set appropriately low.
  30. Rare is the Western that’s too low-rent to be satisfyingly lurid, but with hardly any tension or personality to its name, Sweetwater just misses the mark.

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