The Dissolve's Scores

  • Movies
For 924 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 6.5 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 Don Peyote
Score distribution:
924 movie reviews
  1. The Bachelor Weekend plays as expected: Characters must start close, bond during their trip, have their friendship momentarily threatened, then cathartically make up right on schedule.
  2. Whenever it features feet flying through the air, Brick Mansions is a pleasure. Asked to do anything else, it’s one stumble after another.
  3. Harris’ wondrous arrogance as Coupland nearly justifies The Quiet Ones, because he’s so absolutely certain of a methodology that’s so absolutely incoherent.
  4. The silver lining: Like its predecessor, The Amazing Spider-Man 2 offers its successor another fresh start, since no one will remember what happened in this movie, either.
  5. Church’s indelible character study can only carry this wan, skeletal picture so far.
  6. Its skillful execution of a bad idea doesn’t make the bad idea any better; in fact, the scrupulousness with which West and his crew evoke the past make the film that much more unsavory.
  7. What’s most frustrating about Devil’s Knot—especially for longtime Egoyan fans—is how generic the movie becomes every time it folds another wrinkle into the case.
  8. Next Year Jerusalem offers little insight into its putative protagonists, and even less into Israel.
  9. The film struggles in vain to balance petty infidelities and other personal crises with displacement, famine, and death.
  10. Thompson and Brosnan really are fine romantic foils. They deserve a better movie to trade barbs in. They deserve better barbs to trade.
  11. With its autumnal, end-of-days feeling, Gore Vidal: The United States of Amnesia ends up serving as a capably assembled but deeply felt obituary for both its title subject and the late Hitchens.
  12. Thanks to Sandler, Barrymore, and South Africa’s natural beauty, Blended is far more palatable and bearable than it has any right to be; it’s fluff that rises to the level of innocuous disposability.
  13. Maleficent is out of balance in all sorts of ways. The effective silent sequences conflict with the frustratingly talky ones. The new material fits poorly with moments that directly quote the classic.
  14. Supermensch is a loving tribute to a friend, but in gushing effusively and endlessly over Gordon—who, it should be noted, really does seem like a great guy—Myers shortchanges the audience.
  15. Burning Blue expends most of its energies mitigating against potential flaws, with very little left over to push it over the top and into the realm of quality independent cinema.
  16. Hellion lingers for most of its running time in a betwixt-and-between place, never becoming either the sublime character sketch or the overripe melodrama it alternately promises to be.
  17. The problem with Heli is that “hard to watch” is its sole characteristic.
  18. Sporadically amusing and sprinkled with a fine silt of truth that helps elevate Niko above the movie around him, A Coffee In Berlin is at its best when it rolls up the blueprints and lets its hero figure things out for himself.
  19. Give the Israeli drama Policeman some credit: It keeps finding new ways to be unsatisfying.
    • 87 Metascore
    • 50 Critic Score
    Rasoulof’s dissident return to filmmaking is ultimately little more than a sporadically searing, though more often unfocused and listless treatise on the pervasive censorship enforced by the autocratic Iranian government.
  20. Ivory Tower asks a lot of provocative, important questions, but it’s decidedly short on answers, and even shorter on satisfying or convincing answers.
  21. It’s a brutal argument to make: that the most relevant information to convey about the life of an influential writer is the fact that she struggled early and often. This approach may seem philosophically appropriate for a movie about existentialists, but dramatically, it makes the film a bit of a slog.
  22. Ahluwalia’s commitment to accurately capturing the era’s aesthetic almost compensates for his failure to mine a good story from a great setting.
  23. Between the high-gloss, desaturated prestige-picture look of the film and the visibly fakey soundstage sets of the Jersey boys’ hometown, Jersey Boys feels plastic and artificial throughout. There’s no sense of authentic urgency or intensity to any of it.
  24. Jackpot feels more like Guy Ritchie than the Coen brothers. It revels in moronic violence, unleavened by playfulness or wit.
  25. Writer-director Katrin Gebbe rubs viewers’ faces in this dog dish of a film, with the promise that some sliver of transcendence will redeem it. But it’s all dog dish.
  26. Rage actually has something to say about the futility of vengeance, though that doesn’t become apparent until a climactic revelation re-contextualizes everything. Unfortunately, getting to that sorrowful ending is a real slog.
  27. While Land Ho! feels like a direct extension of its characters, with sedate compositions that are a far cry from the youthful opportunism steering the camera in Katz’s previous films, the uncharacteristic transparency of its agenda clashes with the joy of discovery its story craves.
  28. A lot of the story’s emotional shifts seem designed expressly to prolong the narrative, which is pretty darn skimpy.
  29. It needs to be emphasized again for the record that The Purge: Anarchy is a tremendously stupid film... But there’s an almost-camp quality to how DeMonaco takes this stupidity to greater heights, building a complex mythology around the plot like a giant moat around a pillow fort.

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