The Dissolve's Scores

  • Movies
For 1,111 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 To Be and to Have
Lowest review score: 0 Tyler Perry's A Madea Christmas
Score distribution:
1,111 movie reviews
  1. Hellbenders mostly feels like a doodle, an amiable lark that will amuse genrephiles and anyone else with their sights set appropriately low.
  2. 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.
  3. Pasikowski isn’t interested in actual characters or narrative nuance; rather, the prime concern here is censuring Polish anti-Semitism, which, no matter how righteous an aim, eventually comes at the expense of engaging storytelling.
  4. At its best, Running From Crazy is a powerful portrait of a woman who’s wrested control of her life by understanding the patterns her relatives fell into, and consciously breaking them.
  5. It’s a brutal story and a heady high-concept idea, but it plays out through characters with no identity other than their symbolic ones, and through shouted, simplistic arguments that repeat the same points over and over.
  6. There are mysteries and ambiguities aplenty about Armstrong and the current state of professional cycling, but Gibney has trouble accessing them without getting in his own way.
  7. Too much of Dear Mr. Watterson is taken up by Schroeder and an array of non-professional C&H-lovers offering vague praise, with little to no real analysis—aesthetic, historical, or cultural.
  8. Occasionally entertaining but rarely memorable, 12-12-12 never goes beyond the level of a really good bonus feature on a special-edition concert CD.
  9. The movie seems regressively punitive, to the point where it arguably qualifies as slut-shaming.
  10. It’s a pleasure just to spend 85 minutes looking at Corbijn’s photos and videos, but as a character sketch (which is really all this documentary is), Inside Out is, perhaps appropriately, pretty spare.
  11. With a radically different tone and less naturalistic performances, The Truth About Emanuel might conceivably have worked. Gregorini didn’t commit to the synthetic; paradoxically, that’s what makes the film feel false.
  12. At its core, Homefront is thoroughly generic, a grim exercise in formula whose action sequences are edited into a frenetic, incoherent blur, especially the awful opening setpiece.
  13. Lacks a sense of structure and purpose, ambling from one tense conversation to the next without effectively making a impact.
  14. Perhaps Gurfinkel means to suggest a society off-course, but the game feels rigged, his conception of male and female roles so limited that the characters have little choice but to fall in line.
  15. Despite its wealth of urgent footage, including clips of raids on pimps’ homes and arrests of johns that expose the seedy masculine desire and domination driving the sex trade, Tricked doesn’t have anything new or particularly eye-opening to say about its subject.
  16. From the evidence here, Walker’s forte may have been not action but stillness—a knack for embodying ordinary Joes without any fussiness. That we’ll never find out is truly a shame.
  17. Alexandre de La Patellière and Matthieu Delaporte’s comedy (based on Delaporte’s play) comes across as a poor man’s Carnage, with bitter resentments and cruel assumptions erupting from beneath its characters’ seemingly cheery, jovial façades.
  18. The triumphs feel engineered, and the realizations overheated. Seldom has a globe-spanning, soul-plumbing search for what really matters looked so inconsequential.
  19. The simplicity of Lone Survivor eventually becomes a handicap, because after a certain point, the film becomes just one long battle sequence, lacking narrative ebb and flow.
  20. The shocks are no less effective than the ones in the other Paranormal Activity movies, but no more original, either, with only the whipping of a handheld camera to set it apart from the offscreen gamesmanship that’s long been the series’ stock in trade.
  21. The Rocket is a well-constructed delivery system for sparkly cheer, but it lacks a more substantial payload.
  22. It’s appropriately weighty and filled with loss-of-innocence undertones and some fun cultural detours, yet the film’s odd flatness makes it hard to invest in.
  23. Jamesy Boy has its heart in the right place, and first-time director Trevor White shows some skill with actors, but the film lacks a compelling reason to exist, except perhaps as a public-service announcement.
  24. Life Of A King manages to sustain a hilariously over-the-top tone of naked sincerity from start to finish.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. Too bad no one else in Enemies Closer can match Van Damme’s oddball charisma.
  30. Title notwithstanding, Somewhere Slow doesn’t dawdle and luxuriate; everything is presented right up front, then underlined three or four times for good measure.

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