The Dissolve's Scores

  • Movies
For 1,063 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 Don Peyote
Score distribution:
1,063 movie reviews
  1. There’s promising raw material here, particularly in the early scenes. But the film’s second half seems determined to snuff out the promise of its first, making it hard to wish for this incarnation of the character, or any, to have more big-screen adventures.
  2. 24 Exposures is a transparent auto-critique (or self-justification, depending on how you look at it) in the form of a rather vague thriller, and doesn’t work particularly well in either mode.
  3. The semi-documentary format and the cast’s age could have been used to undermine or examine the ways male bonding in films is used to erase or denigrate women. Instead, the twists are simply used to excuse the usual tropes.
  4. Whether it’s possible to go on loving somebody who’s no longer himself is a momentous question that this movie largely ducks, ultimately providing an answer that seems imposed from without rather than arrived at organically.
  5. Too bad no one else in Enemies Closer can match Van Damme’s oddball charisma.
  6. Title notwithstanding, Somewhere Slow doesn’t dawdle and luxuriate; everything is presented right up front, then underlined three or four times for good measure.
  7. The way the film hews to tiresome conventions is itself a buzzkill, but worse is its sheer lack of energy, as Pearlstein stages serious and/or heartfelt conversations that go on twice as long as necessary and treat the characters as more than the two-dimensional caricatures they actually are.
  8. All in all, The Pretty One is too lightweight to justify such a disturbing act of reinvention.
  9. Habie’s fractured narrative style—particularly her arbitrary shifts from Khaled’s perspective to Eyal’s to (apparently) third-person reality—stymies the accumulation of any dramatic momentum from scene to scene.
  10. It’s a valuable historical document, to be sure; as a movie, however, it’s a dry, grueling experience, lacking Shoah’s monumental grandeur.
  11. Through all the ham-fisted lunacy, writer-director John Huddles displays an infectious love of philosophy, coupled with an exhilarating, anything-goes filmmaking style.
  12. Fantastic Fear leaps all over the place narratively and conceptually, servicing the comedy of every individual scene without considering or linking the others. Some of those individual scenes are marvelous, though.
  13. Date And Switch is a plucky step in the right direction for diversity in teen comedies, but it lacks the extra oomph to stand on its own merits.
  14. Hall and Hart have appeared together in several movies, including 2012’s Think Like A Man, but have never been paired as love interests. Here, they lock into a manic, improvisational groove from minute one.
  15. Competently shot and edited, and imbued with a gentle sense of affection for its setting, Angels In Stardust doesn’t ultimately insult its audience’s intelligence. But it doesn’t really engage it, either.
  16. Neeson’s innate dignity can often serve as a gravitational force for movies this ludicrous, but in a cabin filled with so much flying debris, he is but an ineffectual paperweight.
  17. The Bag Man is always teetering on the edge of amateurish absurdity, before being tugged back from the edge by its actors.
  18. Whether it’s worth seeing a film solely for one amazing performance is a personal judgment call; for those who take that particular leap once in a while, though, here’s a worthy candidate.
  19. The story is a hopeless mess that from the outset seems to be missing key exposition that might help fill in some of its many gaps.
  20. Director Joe Pearson (who also has a mysterious “created by” credit) and screenwriter David Abramowitz have ginned up a fan-fiction-y premise that suggests much more apocalyptic fun than it ultimately delivers.
  21. The film respects its cartoon roots, but never its audience.
  22. While her film abjectly fails in reconciling its modest ambitions with its ungainly story, Bercot was certainly right to trust that Deneuve’s compulsive watchability—and her palpable connection to the part—would be enough to anchor this otherwise weightless coming-of-old-age saga.
  23. Nearly everything good about Bad Words plays off the yin-and-yang dynamic between Guy and Chaitanya—one an endless wellspring of belligerence, the other grinning, excitable, and impossible to rattle.
  24. The movie occasionally sputters to life thanks to the energetic contributions of various supporting players, including The Daily Show’s Jason Jones as an overly aggressive Interpol agent, and a little-known actor named Dax Ravina as a thug with an impressive knowledge of Georges Seurat.
  25. [Lhermitte's] energetic performance is by far the best reason to see the film, which should probably have been directed by somebody else; Tavernier has little flair for comedy.
  26. Hittman demonstrates enough talent in It Felt Like Love to suggest that she could make a terrific film. All she needs is an original idea.
  27. While Rob The Mob doesn’t ultimately hold together, it isn’t for a lack of trying by the performers or the filmmakers—like Tommy and Rosie, it’s doing its damnedest.
  28. At 140 minutes, Divergent is too bloated to be consistently exciting, but it’s relatively agile between its many exposition-dumps, at times resembling an actual action movie more than a pro-forma adaptation.
  29. At every possible turn, the film chooses to take the dumbest and most reductive path. It remains semi-watchable nonetheless, which is a testament to the skill of its four lead actors, who valiantly struggle to remain truthful.
  30. Hateship Loveship is unimpressive as a whole, but it’s stitched together with small, memorable touches.

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