The Dissolve's Scores

  • Movies
For 1,488 reviews, this publication has graded:
  • 35% higher than the average critic
  • 6% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 7.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Her
Lowest review score: 0 Sin City: A Dame To Kill For
Score distribution:
1488 movie reviews
  1. It’s only fitting that a series that began with the concept of linking the digestive tracts of three people would end by feasting on its own shit.
  2. Tomorrowland comes across as a grinning rictus of a movie, a desperate door-to-door evangelist trying to force its foot into the door and push its salvation by any means possible.
  3. Sunshine Superman, a portrait of BASE jumping founding father Carl Boenish, effectively captures the irrepressible energy of a man who never tired of taking flying leaps. But it also does something even rarer for the documentary genre: It demands to be shown on an IMAX screen.
  4. The title does a real disservice to the film, a romantic comedy made with both visual and narrative intelligence, centered by great performances from Kévin Azaïs and Adèle Haenel.
  5. Güeros is a vivid illustration of factionalism’s brute outcome, which has people choosing up sides and tossing bombs at people, while dismissing their victims’ complicated lives and problems.
  6. The film’s deft, improbable balance of tone makes its success feel well-deserved. Not many directors could have pulled off the blend of somber reflection and gallows humor that Tal Granit and Sharon Maymon manage here.
  7. The majority of the cast are non-actors, and act it, judging by their stilted, wooden performances and robotic attempts at simple human interactions. This seems to be the point, since they’re playing non-characters, but such indifference in a film is only tolerable for so long.
  8. Content to let his work speak for itself, Giger has little to add to the conversation, and while it’s intriguing to see him working in—or sometimes just ambling through—a house filled with his work and sources of inspiration, Sallin too often lets these scenes crowd out the story she’s trying to tell.
  9. The grace notes in Dujardin’s performance are an important booster for The Connection, which conspicuously lacks the grit and flavor of William Friedkin’s tangentially related The French Connection, and at worst unfolds like Scorsese-lite.
  10. Slow West often feels like the Coen brothers’ rendition of True Grit, if they’d brought Wes Anderson in as a collaborator. It’s a shaggy-dog story full of colorful characters and aimless but diverting narrative byways, all delivered with Andersonian solemnity, against a backdrop of deeply saturated colors and meticulously dressed sets.
  11. While there are individual delights within Pitch Perfect 2’s 115 minutes, they don’t add up to a functional, coherent film. There’s no harmony, only loud grandstanding.
  12. Unfortunately, this procedural/character study unfolds in a manner that feels more generic than genuinely deep.
  13. Most of Echoes Of War amounts to Hints Of Aggression, with the film struggling to find enough incident to reach feature length.
  14. The film is a true two-hander—and Astin and Mulkey are mostly up for the task—but inept storytelling sinks the picture faster than anyone can bail it out.
  15. Anyone with an interest in the intersection between film history and world history, or in the psychological powers of narrative cinema, should see Forbidden Films.
  16. Good Kill’s hero is both unsympathetic and uninteresting. That’s partly intentional. Niccol means to show how the drone program can reduce a formerly good man to mush. But making that point comes at the expense of making a nuanced, vibrant motion picture.
  17. The whole movie is encased in air quotes, and its sole purpose, apart from that winking, is to argue that even artsy-fartsy grumps secretly identify with Hollywood wish-fulfillment. Would Guerschuny the film critic have liked The Film Critic? If so, he’s a soft touch.
  18. Searching for originality in an addiction narrative like Animals is a problem, because these stories of decline and degradation tend to sound the same. So the limited time frame is the film’s strongest asset, because it’s only paying attention to the final hours.
  19. Haley and co-writer Marc Basch have their hearts in the right place.... But while they’re steering clear of so many pitfalls, they don’t give the impression that they’re steering in any specific direction. The film is a parade of barely connected events, presided over by a barely connected protagonist.
  20. Barbarash doesn’t do much to compensate for the misshapen script, either. Fumbling camerawork and incoherent editing rob the film’s generous fight sequences of their oomph, and amateurish green screen hobbles a car-chase sequence.
  21. If Fury Road were only interested in action, it would still be a stunning achievement, but the film has more on its mind.
  22. There’s nothing clever or subversive about Playing It Cool, which makes the film’s overt self-satisfaction exponentially more infuriating.
  23. Director Richard Loncraine (Wimbledon) and screenwriter Charlie Peters are able to carry this material to some unexpected places. It helps to have two of the most effortlessly charming actors in Hollywood as leads.
  24. Amelio’s latest, Intrepido: A Lonely Hero, reveals the same strengths and weaknesses as his work two decades ago—an appealing sincerity and social awareness, dogged by a mile-wide sentimental streak. In this case, when Intrepido tilts from whimsical comedy to metaphysical drama, it falls right off the cliff.
  25. One’s uptight. The other’s flamboyant. Put them together and… Well, not much happens, except the desperation Hot Pursuit brings to its attempts to wring laughs out of the contrast.
    • 36 Metascore
    • 70 Critic Score
    What’s best about the film is its willingness to go deep, its strange yet effective fluidity between serious scenes and dance numbers, and Duran’s grace with weighty subjects.
  26. Everyone’s there to get the job done, Dolph Lundgren style, meaning Skin Trade is a throwback to the one-man-army actioners of the ’80s, sprinkled with updated stats on human trafficking. If the film happens to raise awareness, then that’s more bonus than objective.
  27. Past the novelty of its conceit and casting, and the animating intelligence of its first-time director, Henry Hobson, Maggie is a bit of a drag.
  28. The D Train hangs some inspired ideas and winning comic moments on material that’s not strong enough to support them.
  29. These characters are so richly drawn, and inhabit such a precise milieu, that they deserved a less perfunctory, anticlimactic fate. The truth will allegedly set us free, but it often puts filmmakers in chains.

Top Trailers