The Dissolve's Scores

  • Movies
For 1,323 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 Sin City: A Dame To Kill For
Score distribution:
1,323 movie reviews
  1. Hellaware is short enough that its doggedness never gets tedious, but the film’s near-total absence of curveballs exposes either a limited imagination, or a lack of time and money to flesh out the premise.
  2. There’s a sense with Jimmy P. that Desplechin and his co-screenwriters, Julie Peyr and film critic Kent Jones, are doing everything they can to steer away from contrivance and stick as closely to Devereux’s recollection as possible. What they’re left with is a rigorous, keenly intelligent therapy session that’s largely absent of dramatic tension.
  3. Dark Touch is meant to touch a nerve, not merely spook. It’s about deeper fears, and realer monsters.
  4. Accepted as fantasy, 5 To 7 has a bright, literate charm that’s hard to resist, thanks to the scattered witticisms in Levin’s script, a deftly managed tone, and fine performances across the cast.
  5. t’s hardly a masterpiece, but then, it shows no signs it ever wanted to be, and sometimes that’s a relief.
  6. Ned Rifle feels closer to vintage Hartley than anything since 2001’s crazily underrated flop No Such Thing knocked him into semi-obscurity, but its dogged insularity stifles the modest pleasure of hearing the director’s distinct voice and watching his old favorites slip back into familiar roles.
  7. It isn’t just that Gilliam’s ragged, wild style is easily recognizable after nearly four decades of feature films, it’s a sense that Zero Theorem recycles its tone, visual design, and plot points directly from his past work.
  8. While the film runs only 77 minutes, that’s a good half an hour longer than the material can support, even though Workman shot it over roughly a decade.
  9. There are a lot of laughs in They Came Together, but few curveballs. The biggest surprise is that the film feels so safe.
  10. MacFarlane’s follow-up feels less like a film than like an extremely long, fairly inspired live-action episode of Family Guy, one that’s only as strong as the latest gag or riff. And this being a Seth MacFarlane production, those gags and riffs are of varying levels of quality.
  11. The many-threaded approach makes it feel narratively rich and sophisticated, but it also shorthands and shortchanges some of the most interesting characters.
  12. With just a couple of strong casting choices and a winsome tone, an old formula can still work, and The Grand Seduction comes out of the lab with a disarming readiness to please.
  13. Director Thomas Allen Harris, who has a background in transmedia art, has made an earnest, though often sloppy, documentary on the essential role imagery plays in shaping the narrative of a people.
  14. A solid, middle-of-the-road Leonard adaptation that lacks the singularity to be something more.
  15. My Old Lady isn’t the tart slice of dessert that its initial scenes suggest it might be. In fact, it only becomes truly compelling in its second half, as Horovitz drives toward darker material and farther away from the light.
  16. The performances, particularly from Towne and Tighe, go a long way toward making the story’s improbabilities seem trivial.
  17. It’s a call to action in the form of an adoring profile, which is effective (and affecting) strategy, but narrow, propagandistic filmmaking.
  18. Breakfast With Curtis is so gentle, it doesn’t bother with antagonists, or even much conflict.
  19. The Visitor is like a puzzle jammed together by a 3-year-old, with the polyglot pieces forced into place whether they fit or not. In other words, it’s an essential curiosity.
  20. Apartment Troubles consistently finds opportunities to subvert expectations and tropes in an appealing fashion.
  21. While the plot relies too much on generalities, the film as a whole thrives on specifics.
  22. If there’s any thought to the screen musical being revived as more than a Broadway brand extension, Kendrick makes the emphatic case that she’s the star it should be built around.
  23. Too blunt and didactic to convey the futility of war with the complexity the subject demands, Tangerines works primarily as a showcase for its trio of lead actors, who work hard to make their characters’ gradual yet quick thaw seem not just credible, but inevitable.
  24. It’s a mash-up of familiar genre elements—too familiar, frankly—given a welcome sense of scope and shading by the location.
  25. The characters inhabiting this convoluted, tough-to-follow story feel too much like chess pieces, despite the refreshing multi-ethnic cast.
  26. The structural missteps do little to diminish the immense pleasure of seeing White in motion, however. When he assumes a combat pose, the generic script and personality-free visuals fall back.
  27. There’s a sentimental streak to These Final Hours, but in the end (heh), it feels as if it’s been earned.
  28. There isn’t a bad scene in Borgman... But van Warmerdam just keeps on teasing and teasing, until the creeping suspicion sets in that teasing is all the film is going to do.
  29. This is a film that moves too erratically to ever gain momentum, seemingly by design.
  30. Those willing or prone to buy into the idea of “Disney Magic” are likely to choke up at least once or twice over the course of Saving Mr. Banks, while those who resist it—the Traverses of the world—will choke on the heaping spoonfuls of sugar the film ladles onto its story.

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