The Dissolve's Scores

  • Movies
For 1,458 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 7.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 The Word
Score distribution:
1458 movie reviews
  1. The original musical holds up well, and Marshall and Condon’s adaption doesn’t wreck it.
  2. It’s all flawed, and distracted, and conceptually messy, prioritizing color over common sense and energy over consistency. But as an afternoon’s diversion for a handful of misbehaving kids—both within the movie, and within the movie theater—it’s authentically winning.
  3. The Inevitable Defeat Of Mister & Pete is a raw, often moving coming-of-age story.
  4. Interstellar often seems afraid to let any development go unpacked and uncommented upon, except for a handful of points that dive into the action and expect viewers to catch up. The film is at its best in these moments, when it’s unafraid of challenging storytelling, particularly since Interstellar never has trouble finding visuals to match its heady concepts.
  5. Time Is Illmatic is a documentary worthy of its subject. It’s no masterpiece, but it’s a strong, substantive look at an album whose greatness was apparent immediately, but that’s still grown in stature since its release.
  6. More than the first Magic Mike, XXL is a loose, shambling party bus—or party organic fro-yo food truck, to be more exact—and everyone’s having a great time. These are entertainment professionals, after all, and the audience is in good hands.
  7. It’s mostly a collection of surreal moments, headed nowhere in particular. But Moore milks a lot of the ironic potential out of his milieu.
  8. Thankfully, Big Men doesn’t have heroes or villains. It’s a deep dive into an endless pool of moral and political ambiguity in which very little is clear-cut, except that the desire for wealth and power.
  9. Paddington is a charmer, portrayed as a little guy whose unflagging goodness makes it easy to forgive his clumsiness. That’s the one detail from Bond’s book any adaptation has to get right, and this one nails it.
  10. Neeson’s latest effort, A Walk Among The Tombstones, is slightly more subdued than his average shoot-’em-up, but no less gruffly satisfying.
  11. The movie’s only real drawback is that its singleminded approach sometimes omits crucial information.
  12. Gondry’s latest demands a high tolerance for whimsy, and will undoubtedly prove anathema to his skeptics. Yet for those willing to abandon logic, suspend disbelief, and give themselves over to Gondry’s crazy, deeply immersive world of play, the result is a wildly inventive head film that’s mood-altering and mind-expanding in its own right.
  13. To Pond and Marcolina’s credit, this isn’t just a character study of an ever-adventurous klepto-gran. The documentary also raises questions about whether a professional liar can ever really stop lying.
  14. It’s easier to tell the story of a smashing success or an utter failure, because there’s drama inherent to either scenario, but what Hansen-Løve accomplishes with Eden is trickier, a feeling of being adrift in a scene where people are already invited to lose themselves to dance.
  15. Vikander is the main event here, and if Testament Of Youth is a testament to anything, it’s to her ability to embody great women with grace and battle-ready precision.
  16. Plotnick’s mix of straight-faced absurdity and unexpected poignance doesn’t always gel, but it also makes the film more resonant than a straightforward spoof could ever be, and adds another layer to the film’s central joke: You can take to the stars, but the past will always travel with you.
  17. It’s compelling throughout, and profoundly moving at times, even when it rings false, which is often. It’s a divisive, shadowy conversation-starter of a movie that’s as much fun to talk and think about as it is to watch.
  18. Chandor’s film suggests more than it can explore, and a contrived climax makes the film seem like less than the sum of what’s preceded it.
  19. A prime example of how to deliver a film on an urgent topic that doesn’t feel like medicine.
  20. At its best, though, it breaks a little more new ground for Disney, escaping the yet-another-princess mode and finding new kinds of family dynamics to explore, and new ways to step outside its long-established boundaries.
  21. The film executes its bad-taste gags with such delicacy and unexpected emotional truth that they don’t even seem like jokes. This is attributable largely to Hollyman’s fearless, convincing lead performance, which grounds the movie in a believable reality, no matter how crazy things become.
  22. While Lenny Cooke’s considerable social and emotional resonance still doesn’t measure up to Hoop Dreams’, the Safdies beautifully evoke the other side of the professional game, the many basketball casualties who don’t get movies made about them.
  23. As vibrant and ingratiating as We Are The Best! is, the movie lacks the more satisfying fullness of Moodysson’s Together and Lilya 4-Ever.
  24. What’s missing from The Punk Singer is real friction or ambiguity.
  25. Wyatt is a supremely confident filmmaker. His style is multitudes sleeker than Reisz’s original, but his eclectic taste, particularly in the soundtrack, reveals a true connection to the earlier era.
  26. It looks like no other movie, Marvel or otherwise, and it’s populated by characters compelling enough to support a more complex, richer story than this one.
  27. Revenge Of The Mekons has none of the raggedness of the band’s best songs, and the movie only occasionally gets to that very Mekons place that novelist Jonathan Franzen describes in the film, where despair and rage over the world’s pervasive injustice resolves into something blackly humorous, and even triumphant. But Angio hasn’t made a glancing, broadly outlined fan-doc, either.
  28. Locking into the film’s rhythms requires patience and an abandonment of preconceptions, but it’s nonetheless Alonso’s most accessible work to date, buoyed by spare but lush photography and Viggo Mortensen’s magnetic presence in the lead role. It takes a special kind of charisma to bring viewers along on a journey to nowhere.
  29. At times, it’s hard to imagine how a real, physical visit to a Kabakov exhibit could improve upon Wallach’s film, which plays like the world’s trippiest docent.
  30. Not content simply to make a finely tuned undersea action film, Macdonald reaches for something more significant and comes up short, trapping his own treasures under a tidal wave of thwarted ambition.

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