The Dissolve's Scores

  • Movies
For 1,375 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 The Cobbler
Score distribution:
1,375 movie reviews
  1. Despicable Me 2 has its charms, in its spritely pacing, a rapid-fire gag-delivery system that hits as often as it misses, and especially in its innovative, expansive use of 3-D space.
  2. All four of the main performances are so strong that they deserve more space to develop and intertwine. Instead, at times, Blood plays like one long “previously on” montage for the series that inspired it.
  3. Cohen’s goal—to bring music to every nursing home—is modest, and the film is smart to follow his lead by keeping bombastic rhetoric to a minimum. Strangely, though, the movie lacks any discussion of professional music therapists, who have been doing this kind of work for decades.
  4. Because little happens story-wise, Cannibal necessarily functions as a character study, but one that’s frustratingly short on character.
  5. He seems like one of the least neurotic men on the planet, and yet how could that describe someone who lived with a heavy secret for 68 years? That’s the question Kroot’s film circles without ever managing completely to ask, much less fully answer.
  6. Stallone and Schwarzenegger have all the gravity here, and keep pulling Escape Plan in the direction of an old-fashioned tough-guy action film, one filled with nods to their onscreen pasts and offscreen exploits.
  7. Interior. Leather Bar.’s intriguing curiosity provides ample food for thought, in part because it’s the rare film that devotes much of its running time to its own principals discussing what, if anything, the film ultimately means.
  8. It’s false as social document, often gripping as entertainment.
  9. There are small attempts at narrative, but the primary lure of Pelican Dreams (for people who like this kind of stuff) is the copious footage of the birds doing goofy pelican things.
  10. 7 Boxes is way too simple, but it mostly works, because every twist of the plot and turn of the street leads back to this one kid, who’ll do anything to make enough money to become someone other than himself.
  11. What keeps The Amazing Catfish from greatness despite the evident skill at every level of its production—the editing is sharp, and the actors are all excellent, especially the children—is the sense that Sainte-Luce is luxuriating in quirkiness for its own sake.
  12. Pacific Rim never amounts to more than the sum of its setpieces, but it delivers on the promise of its premise.
  13. Small Time is impressive, just slightly, because it’s the one thing used-car salesmen are rarely accused of being: honest.
  14. Spinning Plates is a slow starter... But the documentary finds more of a rhythm once it moves beyond generalities and starts getting into particulars.
  15. All Is By My Side ends just as Hendrix is coming into his glory, but Ridley’s film—a remarkable showcase for Benjamin’s acting talent, and a terrible application of what Werner Herzog called “ecstatic truth”—is in the end a tragedy.
    • 60 Metascore
    • 60 Critic Score
    Troell’s portrait, driven by a desire to excavate the truth, is a refreshing respite from artificial biopics.
  16. Third Person’s considerable strengths generally come from the actors.
  17. It’s a slick crowd-pleaser, but it’s perversely unrevealing about anything other than Manganiello’s affection for a the stripper experience.
  18. Home feels oddly small-scale for a globe-spanning science-fiction adventure story featuring aliens and flying cars.
  19. Chow’s go-for-broke sensibility has been sorely missed, and a tale of demons is the ideal context for the gravity-defying, logic-impaired stunts he favors.
  20. The film is mostly one long stalling tactic, indulging in unreliable flashbacks and narrative wheel-spinning to expand the details of its tragic scenario to feature-length. When it finally gets to what happened, though, prepare to cringe.
  21. What saves Chinese Puzzle—making it not just tolerable, but likable—is how well Klapisch uses New York. The movie embraces the whole city.
  22. Nothing Can Hurt Me is frustratingly unfocused, petering out considerably after its first hour.
  23. What keeps Horses lively is its sharp young cast—especially the two Rachids, who are also brothers in real life, and do an expert job of showing how Hamid and Yachine slowly change places.
  24. Driven by Paul Grabowsky’s deceptively jaunty score, Swerve is ably performed and tightly paced... But it doesn’t stick the landing.
  25. Intriguing without ever proving insightful, the film nonetheless has a formal patience and meticulousness that sets it apart from its jump-scare-loving mainstream-horror brethren.
  26. The film is less effective as an inspirational saga than as a simple portrait of a marriage in its twilight years, with the house-in-progress serving as a metaphor for love that endures by being constantly renewed.
  27. While some of the scenes feel contrived, the naturalistic performances never do.
  28. It doesn’t provide enough rigorously reported context about what happened in 1991 to feel like anything close to a definitive portrait of the Anita Hill vs. Clarence Thomas saga.
  29. When it comes time to get to the bottom of what’s really going on, McDowell and Lader start losing the thread.

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