The Dissolve's Scores

  • Movies
For 1,470 reviews, this publication has graded:
  • 34% higher than the average critic
  • 6% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Safe
Lowest review score: 0 Tyler Perry's A Madea Christmas
Score distribution:
1470 movie reviews
  1. Despite the sharp dialogue...and carefully managed dramatic rhythms, Match still can’t help but seem a bit cramped, particularly once the plot starts to take some predictable turns and the shouting starts. It’s a fine line that divides the intimate from the claustrophobic.
  2. Ariely’s inquiries into how and why we stretch, reframe, or ignore entirely the truth are certainly eye-opening, but he and Melamede are better at demonstrating the ubiquity of subterfuge than prescribing remedies for it.
  3. Diplomacy is at its worst when Schlöndorff consciously attempts to open the play up.
  4. Alternately exhilarating and tedious, Why Don’t You Play In Hell? is Sono’s tribute to moviemaking—specifically an elegy to 35mm film, though the tone could hardly be called mournful.
  5. Filth is bolstered by a gonzo performance from McAvoy, who seems determined to out-Bad Lieutenant the American Bad Lieutenants.
    • 55 Metascore
    • 60 Critic Score
    Though the film gets more banal as it reaches its climax—most viewers will have seen it all before—Onah creates refreshing space around these familiar stories and themes. He has a wonderful sense of style and movement, and he isn’t afraid of a story’s personal elements. He goes after them.
  6. Unfortunately, Kill Your Darlings doesn’t know what to do with Radcliffe and DeHaan, good as they are; there’s little sense of how they fit into a larger framework, or what bearing, if any, it might have on its more famous subjects’ later output.
  7. Torn’s sometimes-stodgy dramatics give way to a genuinely unsettling microcosm of modern terrorism.
  8. Content to let his work speak for itself, Giger has little to add to the conversation, and while it’s intriguing to see him working in—or sometimes just ambling through—a house filled with his work and sources of inspiration, Sallin too often lets these scenes crowd out the story she’s trying to tell.
  9. Big Game tries a little of everything, but ultimately settles into being a scrappy, lower-budget spin on the Big Dopey Action Movie genre. And as with nearly every stab at the BDAM, the audience’s satisfaction will depend largely on just how dopey they expect it to be.
  10. There’s a matter-of-factness to Israel: A Home Movie that’s disquieting, as it shows the joy and determination of a nation in the making, and the dismayed faces of those elbowed aside.
  11. Unfortunately, as with so many social-survey documentaries, the film’s macro view comes at the expense of any microcosmic depth.
  12. For everything here that’s new and exciting, there’s much that’s way too familiar. The kids are so one-dimensional and unpleasant, it’s hard to care once they start dying off.... Unfriended is often more innovative than scary, too, with some memorable but not particularly chilling and hilariously foreshadowed death scenes.
  13. Before the hokey third act, there’s much to like about Michael Berry’s border-crossing drama Frontera.
  14. There are weeds here, thorny stuff to slash through, but when A Little Chaos stays on course, there’s plenty of beautiful work to admire.
  15. As a period production, Belle is gorgeous, dazzling spectacle, replete with ornate costumes, lovely sets, and in Mbatha-Raw, a striking, charismatic lead. But the film never finds a way to invest its narrative with a sense of urgency.
  16. True to its Disney lineage, Bears is a theme-park version of reality, but one built on sincere understanding of and affection for the natural world and all its creatures—especially the really cute ones.
  17. Visually, nothing’s changed, with Auteuil still framing his actors (and himself) in purely functional medium shots, occasionally punctuated by postcard-pretty views of Marseilles’ piers. Dramatically, however, Fanny is a bit meatier.
  18. Lucy earns points for its unpredictable treatment of its vaguely superhero-ish premise and an appealing silliness, but it struggles to match wits with the genius at its center.
  19. It’s clunky, it’s hokey, it was clearly made on the cheap. It’s also ambitious in a way that more expensive films are rarely allowed to be anymore.
  20. Despicable Me 2 has its charms, in its spritely pacing, a rapid-fire gag-delivery system that hits as often as it misses, and especially in its innovative, expansive use of 3-D space.
  21. All four of the main performances are so strong that they deserve more space to develop and intertwine. Instead, at times, Blood plays like one long “previously on” montage for the series that inspired it.
  22. Cohen’s goal—to bring music to every nursing home—is modest, and the film is smart to follow his lead by keeping bombastic rhetoric to a minimum. Strangely, though, the movie lacks any discussion of professional music therapists, who have been doing this kind of work for decades.
  23. Because little happens story-wise, Cannibal necessarily functions as a character study, but one that’s frustratingly short on character.
  24. He seems like one of the least neurotic men on the planet, and yet how could that describe someone who lived with a heavy secret for 68 years? That’s the question Kroot’s film circles without ever managing completely to ask, much less fully answer.
  25. Stallone and Schwarzenegger have all the gravity here, and keep pulling Escape Plan in the direction of an old-fashioned tough-guy action film, one filled with nods to their onscreen pasts and offscreen exploits.
  26. Interior. Leather Bar.’s intriguing curiosity provides ample food for thought, in part because it’s the rare film that devotes much of its running time to its own principals discussing what, if anything, the film ultimately means.
  27. It’s false as social document, often gripping as entertainment.
  28. The ideas are admirably heady, and Phang, making just her second feature (after 2008’s little-seen Half-Life), demonstrates a sure hand with both her imaginative milieu and her cast.
  29. There are small attempts at narrative, but the primary lure of Pelican Dreams (for people who like this kind of stuff) is the copious footage of the birds doing goofy pelican things.

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