The Dissolve's Scores

  • Movies
For 1,168 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Her
Lowest review score: 0 Tyler Perry's A Madea Christmas
Score distribution:
1,168 movie reviews
  1. When Annie isn’t functioning as a showcase for Wallis’ tiny preternatural charm, it’s tonally varied to the point of discombobulation.
  2. As a film, Into The Woods is trapped between the stage and the screen, at odds with both its source material and its adopted medium.
  3. Big Eyes contains comedy and tragedy, too, but they pair much less agreeably here, in part because each of the film’s two protagonists belongs much more to one world than the other.
  4. For all three hours and change, it’s never less than interesting, but it’s also never much more than interesting.
  5. For all the formidable intellect that went into its conceit, When Evening Falls On Bucharest has a slightness that isn’t helped much by the weight of the discussion, which occasionally presses it into a flat soufflé. But Porumboiu’s insight into the filmmaking process itself is often fascinating.
  6. 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.
  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. Despite the sharp dialogue...and carefully managed dramatic rhythms, Match still can’t help but seem a bit cramped, particularly once the plot starts to take some predictable turns and the shouting starts. It’s a fine line that divides the intimate from the claustrophobic.
  9. The film refreshingly portrays its kids as part of a diverse group trying to succeed in a country in which they can never find secure footing. That’s the big-picture story here, and one even the occasional underdog cliché can’t obscure.
  10. It works, mostly, thanks to Helberg’s committed, vanity-free performance, and to the bubbly chemistry between him and the luminous Melanie Lynskey as Devon, his first and only love.
  11. Bolstered by strong performances and a tight narrative, Son Of A Gun is an admirable debut film from Avery, and a worthy new entry into Australia’s burgeoning class of crime features.
  12. Mommy puts all its personal baggage on the table like Ally Sheedy emptying her purse in The Breakfast Club, and Dolan is to be admired for sharing so much of himself, and doing it with such evident passion. But it isn’t enough for an artist simply to share—he has to shape, too.
  13. Like Ghibli’s features, Kingdom is a friendly, elegiac, approachable movie. But it lacks the studio’s well-polished sense of energy and commitment.
  14. The Kevin Hart brand is clearly doing well, but Let Me Explain doesn’t seem interested in providing anything more than a surface-level presentation of the product.
  15. The default middle ground between true-to-life and wacky in I Give It A Year turns out to be a place of dreary artificiality.
  16. White House Down is never more than a sliver away from gleeful self-parody. It’s pure patriotic kitsch, the cinematic equivalent of a black-velvet painting of a bald eagle clutching an American flag in its talons as it soars majestically over Mount Rushmore.
  17. As routine and undercooked as Beneath’s one-wet-corpse-after-another plot is, the movie is still breathtakingly beautiful at times, with compositions and color tones that resemble a high-class fashion-magazine layout circa 1965.
  18. Compared to other, similar offbeat monster movies, Grabbers is under-realized. It isn’t as smartly plotted or funny as Tremors, nor as politically charged as The Host.
  19. A film that grows less compelling and original by the minute, R.I.P.D. serves due notice that the mismatched-buddy-cop movie is wearing out its welcome all over again.
  20. There’s a strain of gross-out humor—most bodily fluids make cameos—that doesn’t mesh well with the rest of the movie. But more bothersome is a tendency The To Do List shares with its heroine: mistaking checking items off a list for progress.
  21. Wasteland reveals itself as little more than a bloodless plot engine, but it purrs and hums under the ultra-slick chassis.
  22. It deserves credit for avoiding the conventions of romantic comedies and defying audience expectations, but only to a degree. Instead of hitting the expected notes and beats, Drinking Buddies instead ambles sideways. It’s headed nowhere in particular, but at least the voyage is pleasant.
  23. Duhamel and Fogler play off each other nicely in the early going... The arguments and contrasting worldviews are banal, but the relationship feels genuine.
  24. Sometimes it’s fascinating, but just as often, it’s frustrating: It’s a film without a net, and it tends to land with a thud.
  25. It’s a modest, reserved character piece that doesn’t push an agenda. The problem is that it comes across as if it lacks opinions, rather than holding them back.
  26. If Schrader and Ellis set out to prove that movies are dying or already dead, they might have done their job too well. The Canyons doesn’t play like the cure for a moribund industry, so much as a mildly effective, highly depressing administration of the last rites.
  27. The movie fails, but it’s like watching R.P. McMurphy try to lift that huge marble fixture in One Flew Over The Cuckoo’s Nest—at least they tried, goddammit.
  28. Bell is too inherently sympathetic to turn Leigh into a credibly flawed protagonist, and first-time writer-director Liz W. Garcia seems more interested in indulging the fantasy of the jailbait fling than in seriously interrogating her heroine’s psyche.
  29. While the setups are often laughably forced—two words: “weed baby”—the script navigates its way out of them relatively gracefully, and sometimes hilariously.
  30. There’s a context to Struzan—not just biographically, but culturally—and while Sharkey seems to understand that, his movie, ironically, doesn’t illustrate it particularly well.

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