The Dissolve's Scores

  • Movies
For 1,219 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 Tyler Perry's A Madea Christmas
Score distribution:
1,219 movie reviews
  1. The movie is a mishmash of riveting action and drama pasted together with obligatory plot-moving that is so phoned-in that it approaches parody.
  2. There’s a clarity to Snook’s emotional journey that’s absent from the rest of the film—a fact that’s partly deliberate, since Heinlein and the Spierigs mean to dive into the soup. But amid the murky genre experimentation, it’s a beacon of truth.
  3. The energy never flags, the film conveys a deep love of Brown’s music (which fills almost every scene), and Boseman remains magnetic whether onstage or in quiet moments.
  4. Dealin’ With Idiots is at its strongest when it forgets about plot and character development altogether (which is most of the time) and gives itself over to the laid-back pleasure of improvisation among veteran professionals finding and exploring a good groove together.
  5. The film is often a rough, searching, unfocused piece of work, but at a minimum, it affirms Bell as a talent to watch both as an actress and a writer-director, one with a strong, developing comedic sensibility.
  6. Abril and Banderas are both terrific as the lovers-to-be... Almodóvar makes it easy to root for them to get together and balance each other out, but that means getting past the situation that brought them together in the first place, and the tension makes the movie queasy even when it’s compelling.
  7. There’s a sketchbook quality to La Última Película; it’s like notes for a movie that never really got made. Because the film is stubbornly unpolished, it all but dares viewers to scratch their heads and say they don’t get it.
  8. To its credit and sometimes detriment, Grand Piano keeps a frothing-at-the-mouth level of insane melodrama going for 75 minutes, aided by Wood’s sweaty, terrified performance, a screenplay rich in ridiculous contrivances, and a swooping camera that never stands still.
  9. There isn’t much to it, really, but a little truth and loveliness is always welcome.
  10. Taken in the right spirit, The Pervert’s Guide To Ideology is a lot of fun, like watching a movie with a friend, then going out for drinks and talking late into the night. Just don’t expect to get a word in edgewise.
  11. The film isn’t so much a vision as a conversation, and it isn’t revelatory, but it’s engaging.
  12. For all its simple politics, clanging dialogue, and underwritten roles—only Damon’s natural, and deepening, ability to suggest unspoken disappointment gives his character dimension—Elysium works, though never as well as it should.
  13. It’s possible that something’s getting lost in translation, but Demme’s film only occasionally makes it seem like it’s worth the effort for the rest of the world to catch up.
  14. The movie as a whole has an immediacy that’s appealing even in its weaker second half.
  15. Austenland embraces convention, and the result is a romantic comedy in which the ending seems not just foreordained, but promised via contract from the first moment of the film.
  16. Hellbenders mostly feels like a doodle, an amiable lark that will amuse genrephiles and anyone else with their sights set appropriately low.
  17. Little Feet barely even qualifies as slight. It’s more of a limbering exercise for its director than a full-fledged project, and it’s overly reliant on his offspring’s minor charms.
  18. Through all the ham-fisted lunacy, writer-director John Huddles displays an infectious love of philosophy, coupled with an exhilarating, anything-goes filmmaking style.
  19. [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.
  20. The images are gorgeous, but they’re gorgeous in a void; unlike in The Silver Cliff, the intended connection to the people who inhabit them is missing. Possibly Aïnouz let autobiographical impulses lead him astray. Or maybe he’s an avant-garde filmmaker at heart.
  21. 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.
  22. “My Life Directed” is mostly disposable, just the sort of home-movie project a restless artist might sketch while stuck in a hotel room for a few months. It’s not a movie so much as a cry for help.
  23. 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.
  24. You Will Be My Son works best when it’s at its most unforced, and when the world of wine-making—with its anticipation of the season’s cycles and its fascination with subtle changes in flavor—intersects naturally with the life of a European business leader who has skewed priorities.
  25. A film that veers between caustic comedy, melodrama, and heartstring-tugging, without finding the spark of sympathy that would hold the film together around its disparate tones.
  26. Inch’Allah tries hard, and serves up a few moments of compelling specificity, but for the most part, it has little to offer beyond good intentions. For a subject this daunting and knotty, that isn’t nearly enough.
  27. It’s well-intentioned, but it’s all diagnosis, no prescription.
  28. It’s all tasteful and polished to a fault, but it feels like exactly what it is: an abbreviated version that preserves the high points, zips past the rest, and never approaches the depth of the full text.
  29. Ullmann’s Miss Julie is as dominated by long speeches and conversations as Strindberg’s, but those scenes don’t play as well when the two would-be lovers are sidling up to each other in close-up, practically panting.
  30. 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.

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