The Dissolve's Scores

  • Movies
For 1,483 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 7.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 To Be and to Have
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
1483 movie reviews
  1. What saves 1001 Grams from being excruciatingly cute is that it does have a clean look and a pleasant tone, and it’s about a subject that’s both unusual and entertaining.
  2. Director Tiller Russell doesn’t spin this gripping tale out of cinematic bravado like Scorsese—just extensive interviews with all the people involved, footage of a commission hearing after the fact, and a wealth of stock material on Brooklyn’s East Side. But he paints a vivid picture all the same.
  3. 100-Year-Old sometimes feels like a rote biopic of a famous figure who never was, congratulating viewers on whatever recognition has rolled over from grade-school history class, then moving on to what comes next.
  4. Superficiality reigns here. Arguably, that should dominate a movie about a fashion designer. But fashion shows run 10-20 minutes, not two and a half hours.
  5. I Am Big Bird breezes by a couple of opportunities to dig deeper into thornier subject matter, but those minor oversights don’t hurt the film in any significant way.
  6. Whedon’s handling of the personal material is what makes Age Of Ultron extraordinary. Remarkably for a film so overstuffed, no character gets neglected.
  7. Welcome To Me never develops much momentum, doesn’t always know what to do with supporting players like Leigh, and builds toward a finale that plays as a bit too neat. Yet even this doesn’t betray the character’s cracked integrity.
  8. Branaman’s script piles on low-level drama, bad decisions, and enough misdirection to make the film’s baffling ending feel not just unearned, but entirely unbelievable.
  9. It’s refreshing to see a prestige costume drama so interested in its heroine that it treats “happily ever after” as an afterthought.
  10. The simplicity of the film’s East Coast/West Coast assumptions bear out in the rest of the script, which rides such tidy little symmetries all the way to shore, as mom learns to relax and her son grows up a bit. Meeting somewhere in the middle is what mediocrities do.
  11. The accumulation of weird incidents and fake-outs doesn’t lead anywhere productive. That’s the problem with Dupieux’s vacant brand of surrealism: If you just keep pulling out the rug, there will never be anything to stand on.
  12. The new ending Oelhoffen has dreamed up is unsatisfying—Camus’ version was sharper, nastier, more credible—and the film never strays far from genre convention, but it’s refreshing to see a sincere paean to nobility, honor, and courage, especially one that periodically elevates the pulse with expertly mounted standoffs.
  13. Iris isn’t groundbreaking doc filmmaking, but it’s amiable and jovial in a way rarely seen in the field, which tends more toward drama, trauma, and forwarding big causes. Maysles doesn’t seem to have an agenda, beyond capturing Apfel as she is in this moment, as a complete, highly specific, and thoroughly charming character.
  14. There’s nothing out of order here—the locales are appropriately dingy and atmospheric, the lead character is compellingly rotten, the plot tightens to a vise squeeze in the third act—but every beat that isn’t provided by The The strikes exactly where it’s expected.
  15. Anyone who’s seen The Miracle Worker in any form will find Marie’s Story very familiar, and even perhaps a bit rote.
  16. George Hencken’s Spandau Ballet documentary Soul Boys Of The Western World effectively serves two audiences: hardcore fans hoping for rare footage and in-depth interviews, and those who really only know the song “True,” and would be surprised to learn just how popular Spandau Ballet used to be.
  17. In some ways it takes the right approach, attempting to mix moral lessons into a narrative rather than hit audiences over the head with them. But the lessons are so pat that every moment in which Pepper makes a good moral choice feels like an act of self-congratulation.
  18. The film creates a kind of romantic view of the minutiae of running a museum, yet it’s barely concerned with the actual artwork housed within. Maybe this won’t matter to the audience, if they find the mere idea of a museum fascinating on its own.
  19. Morgen isn’t interested in rehashing the facts and highlights of Cobain’s life and career, or in providing chin-scratching insights via music scholars and other talking heads. He’s made an impression of Cobain, which is a much more intuitive and vital enterprise.
  20. Like its main character, Age Of Adaline is a movie out of time, mannered and unconcerned with current trends, and hopelessly unhip. But it’s also beautiful and refreshing in its own earnest, straightforward way. For as ridiculous as Age Of Adaline appears on the surface, it’s surprisingly refined and poised in its execution.
  21. Sorting through the shards of the Ottoman Empire requires a historical complexity that eludes Crowe, who flattens the landscape into bromides on family and country, and the hard-won glories of being Russell Crowe. His on-screen persona could stand to be as modest as his filmmaking abilities.
  22. It does not seem like too much of a stretch to call Kroll a comic genius, but this kind of low-key sincerity does not suit his particular gifts.
  23. Despite strenuous efforts, 24 Days fails to make the case that Halimi would be alive now had the anti-Semitism of his abductors been properly recognized. And since that’s the film’s sole reason for existence, there’s not much else to say.
  24. After The Ball commits its most garish faux pas in rooting its plot in the thorny politics of high fashion, despite an apparent lack of any understanding of how the business works.
  25. Planetary’s message is repetitive without being enlightening, and the film and its assorted participants insist on hitting the same beats without pause, until the concept loses all meaning.
  26. It can’t be faulted for its noble intentions. Like many an after-school special, however, it can be faulted in virtually every other department, including stilted performances, turgid dialogue, flat direction, and a general ignorance regarding human nature.
  27. More attention paid to the narrative of some of these pieces, rather than simply their craft, could have been more enlightening.
  28. However misguided, it’s clearly one from the heart, a movie that should never have happened, and one that’s hard to believe actually exists. Roar is one of a kind. With any luck, it always will be.
  29. More than anything, Misery Loves Comedy does not need to exist. The niche it aims to fill has already been occupied by people willing to go much deeper than Pollak.
  30. As illuminating as that article may have been, though, Emptying The Skies, a documentary based on Franzen’s story that borrows its headline as its title, ultimately makes a more searing imprint on the psyche.

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