The Dissolve's Scores

  • Movies
For 1,105 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 The Long Day Closes
Lowest review score: 0 School Dance
Score distribution:
1,105 movie reviews
  1. Shot over five nights in a single location, and almost entirely improvised, Coherence is no-budget filmmaking at its most delectably inventive.
  2. Death is a part of life—one that informs everything we do, on some level or another—and watching Ebert characterize whatever time he has left as “money in the bank,” from what viewers know is his deathbed, is life-affirming and heartbreaking in equal measure.
  3. If the movie is about any one idea in particular, it’s about how parents do their best to stay on top of how their children grow, by taking pictures and documenting the memorable occasions, only to learn too late that most of life happens between the posing.
  4. The digressiveness of Y Tu Mamá También is its masterstroke.
  5. The most tremendous thing about Starred Up is exactly how simple it keeps things, and what a richly nuanced story emerges in the process.
  6. Stray Dogs evokes the whole of Tsai’s filmography, but also pays off his collaboration with Lee, who shows a side of himself that’s been hidden away for all these years.
  7. Gone Girl reveals itself as an optimal meeting of the minds, a perfect amalgam of a writer and a director with complementary fixations.
  8. Listen Up Philip doesn’t care to be liked. And in that, it deserves to be loved.
  9. Östland writes the conflict between husband and wife beautifully, like a scab that gets picked at until it bleeds, and he does things cinematically, too, to suggest the growing distance between them—an already-cool visual palette broadens like a yawning chasm.
  10. For all of its provocatively cerebral ideas, the prevailing truth is that Goodbye To Language is actually a great deal of fun—not just to think about, but also to experience. It’s “Godard: The Ride.”
  11. It all serves a portrait of 1970 California that mixes absurdity with an air of looming cataclysm, a volatile formula that wouldn’t work without Phoenix’s performance.
  12. Leigh’s generous approach to capturing the fullness of Turner’s life, through unhurried rhythms and scenes, makes Mr. Turner memorable.
  13. This isn’t merely about the follies of a misanthrope, it’s an epic tragedy about life in the Ivory Tower and the inability to understand—much less empathize with—other human beings.
  14. It’s a film that captures humanity at its best and its worst, sometimes simultaneously.
  15. It’s a soul-stirring tribute to a man whose vision was too bold and revolutionary for his lifetime, or the convention-bound ways of the music industry, but was ultimately too powerful to be denied.
  16. Cordero and screenwriter Philip Gelatt demonstrate a deft understanding of how to handle a found-footage narrative without making it too familiar.
  17. There’s nothing remotely revolutionary about Turbo’s underdog-sports narrative, but that’s okay—it’s one of the sturdiest plots in film for a reason—and the film’s emotional beats are no less potent for being expected, thanks to the ground-level focus on the human-snail relationships that fuel them.
  18. For all the memorable dialogue and elegant camerawork (courtesy of Javier Aguirresarobe), it’s Blanchett’s movie, and her performance tells yet another story, that of a woman losing control.
  19. While Drug War is ultimately more an exercise in craft than a movie with a lot on its mind, it’s a remarkably skillful exercise, and hardly devoid of ideas.
  20. This Is Martin Bonner is a story of faith and redemption, but Hartigan casts aside the conventional wisdom that there must be a causal link between the two.
  21. There’s a fair amount of Hollywood magic in the way director James Frawley and Henson’s Muppeteers stick Kermit and friends into scenarios in which he’s riding a bike, rowing a boat, and walking in cowboy boots. But the less showy effects always defined the Muppets.
  22. Quietly, persuasively, Tokyo Waka asks whether cultures decline by pouring resources into propping up entities that can no longer support themselves.
  23. It finds no clear answers, but that suits both the horrific event and this haunting, elusive film.
  24. What makes Informant so effective is that while its focus is on Darby, the story has a larger scope.
  25. A warm and enjoyable small-scale film.
  26. A heartening but tempered portrait of the media’s ability to effect social change.
  27. Let The Fire Burn is a fascinating look at official overreaction, government overreach, and the corrupting effects of prejudice on powerful institutions.
  28. A Touch Of Sin stumbles in the coda, which makes the themes embedded in its title too explicit, but it’s a bold, invigorating statement from a director who keeps reinventing himself.
  29. [A] gripping, urgent, and often horrifying documentary.
  30. Kathy Brew and Roberto Guerra’s documentary boasts an economical sleekness that’s in tune with the designers’ concepts.

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