The Dissolve's Scores

  • Movies
For 958 reviews, this publication has graded:
  • 34% higher than the average critic
  • 8% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 Don Peyote
Score distribution:
958 movie reviews
  1. Maleficent is out of balance in all sorts of ways. The effective silent sequences conflict with the frustratingly talky ones. The new material fits poorly with moments that directly quote the classic.
  2. Supermensch is a loving tribute to a friend, but in gushing effusively and endlessly over Gordon—who, it should be noted, really does seem like a great guy—Myers shortchanges the audience.
  3. Burning Blue expends most of its energies mitigating against potential flaws, with very little left over to push it over the top and into the realm of quality independent cinema.
  4. Hellion lingers for most of its running time in a betwixt-and-between place, never becoming either the sublime character sketch or the overripe melodrama it alternately promises to be.
  5. The problem with Heli is that “hard to watch” is its sole characteristic.
  6. Sporadically amusing and sprinkled with a fine silt of truth that helps elevate Niko above the movie around him, A Coffee In Berlin is at its best when it rolls up the blueprints and lets its hero figure things out for himself.
  7. Give the Israeli drama Policeman some credit: It keeps finding new ways to be unsatisfying.
    • 87 Metascore
    • 50 Critic Score
    Rasoulof’s dissident return to filmmaking is ultimately little more than a sporadically searing, though more often unfocused and listless treatise on the pervasive censorship enforced by the autocratic Iranian government.
  8. Ivory Tower asks a lot of provocative, important questions, but it’s decidedly short on answers, and even shorter on satisfying or convincing answers.
  9. It’s a brutal argument to make: that the most relevant information to convey about the life of an influential writer is the fact that she struggled early and often. This approach may seem philosophically appropriate for a movie about existentialists, but dramatically, it makes the film a bit of a slog.
  10. Ahluwalia’s commitment to accurately capturing the era’s aesthetic almost compensates for his failure to mine a good story from a great setting.
  11. Between the high-gloss, desaturated prestige-picture look of the film and the visibly fakey soundstage sets of the Jersey boys’ hometown, Jersey Boys feels plastic and artificial throughout. There’s no sense of authentic urgency or intensity to any of it.
  12. Jackpot feels more like Guy Ritchie than the Coen brothers. It revels in moronic violence, unleavened by playfulness or wit.
  13. Writer-director Katrin Gebbe rubs viewers’ faces in this dog dish of a film, with the promise that some sliver of transcendence will redeem it. But it’s all dog dish.
  14. Rage actually has something to say about the futility of vengeance, though that doesn’t become apparent until a climactic revelation re-contextualizes everything. Unfortunately, getting to that sorrowful ending is a real slog.
  15. While Land Ho! feels like a direct extension of its characters, with sedate compositions that are a far cry from the youthful opportunism steering the camera in Katz’s previous films, the uncharacteristic transparency of its agenda clashes with the joy of discovery its story craves.
  16. A lot of the story’s emotional shifts seem designed expressly to prolong the narrative, which is pretty darn skimpy.
  17. It needs to be emphasized again for the record that The Purge: Anarchy is a tremendously stupid film... But there’s an almost-camp quality to how DeMonaco takes this stupidity to greater heights, building a complex mythology around the plot like a giant moat around a pillow fort.
  18. The parts of Finding Fela that best handle the tricky nuances of Kuti’s worldview are the parts that show Jones and the Fela! creative team grappling with those same questions.
  19. As clumsy as Quale is with the sequences of people shouting exposition back and forth, or delivering teary Blair Witch-style goodbyes into a camera that would have died long before its operators, he handles the CGI action with breathless intensity.
  20. The exuberant dance sequences have long been the series’ saving grace, but even those are starting to feel redundant and interchangeable.
  21. The misused cast is just one of many examples of the unrealized potential of Life After Beth, a film that has good bones, but not enough meat, guts, or—most damningly for a zombie movie—brains.
  22. In the end, it’s Salvo itself that’s murky and obscure.
  23. In this 75-minute straight shot of Discovery Channel cinema, no emotional crests are peaked, but viewers will come away informed.
  24. May In The Summer just never distinguishes itself in any way that isn’t superficial.
  25. If The Strange Color Of Your Body’s Tears were Cattet and Forzani’s debut film, this might all feel fresher, and more revelatory. But as visually stunning as any given five minutes of this movie is, it doesn’t add up to much cumulatively.
  26. Directors Richard Glatzer and Wash Westmoreland (The Fluffer, Quinceañera) do their best to avoid sensationalism, but age difference and statutory rape are the only factors that make the story remotely interesting.
  27. Only those looking to have their bleak worldview painfully confirmed will find this exercise in masochism fulfilling.
  28. The Green Prince relates gripping events in a doggedly subdued manner, via direct-to-camera interviews and dramatic re-creations.
  29. It isn’t a documentarian’s job, necessarily, to prescribe remedies for the social problems she reports. But de Mare and Kelly never get as far as framing the scope of the problem in any real way.

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