The Dissolve's Scores

  • Movies
For 622 reviews, this publication has graded:
  • 35% higher than the average critic
  • 11% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Long Day Closes
Lowest review score: 0 Tyler Perry's A Madea Christmas
Score distribution:
  1. Negative: 80 out of 622
622 movie reviews
  1. Driven by Paul Grabowsky’s deceptively jaunty score, Swerve is ably performed and tightly paced... But it doesn’t stick the landing.
  2. Breakfast With Curtis is so gentle, it doesn’t bother with antagonists, or even much conflict.
  3. Some Velvet Morning is absorbing and enraging, sure to spark debate both about its meaning and its method. More importantly, it’s a phenomenal performance piece, with LaBute capturing the incredible gifts of two masters of pretense.
  4. Those willing or prone to buy into the idea of “Disney Magic” are likely to choke up at least once or twice over the course of Saving Mr. Banks, while those who resist it—the Traverses of the world—will choke on the heaping spoonfuls of sugar the film ladles onto its story.
  5. It’s hard to fight the feeling that The Hobbit simply isn’t an epic story, and the efforts to expand it into one leave it feeling like an anvil crammed into a sock: The sock is taking on some weird shapes, and it’s being stretched awfully thin.
  6. Bogliano provides a steady series of jolts, all the way to an ending that’s twisty but ultimately unsatisfying.
  7. Despite its limitations, Nuclear Nation remains a quiet, painful reminder that disasters aren’t disasters because of the sound and excitement, but because of the blank spaces they leave in people’s lives.
  8. While the movie isn’t a consistently riveting four hours, Hoogendijk does keep finding images and moments that demystify the museum business while making the art seem all the more magical.
  9. All The Light In The Sky is a refreshingly grown-up exploration of a woman at a personal and professional crossroads that’s stronger for never pushing its narrative or its finely wrought lead character in the direction of big moments or bullshit epiphanies. It’s casual, but also quietly moving.
  10. Dupieux might have done better to construct an entire movie around his best idea.
  11. 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.
  12. Unfortunately, as with so many social-survey documentaries, the film’s macro view comes at the expense of any microcosmic depth.
  13. This is time-worn, overly familiar material, indifferently directed by journeyman Tim Story, but Hart’s manic comic invention and textured persona elevates it somewhere beyond the level of pleasing mediocrity onto the slightly more distinguished realm of the agreeable-enough time waster.
  14. Keshales and Papushado have great filmmaking chops—as Israeli imports go, this is as far from the austere norm as it gets—but there’s a hollowness at the core of Big Bad Wolves, a creeping sense that they have no clear perspective on they mayhem they’re presenting.
  15. Generation War never becomes great, but it overcomes its stiff start in large part due to its scope.
  16. The small achievement of Devil’s Due is how much it both exploits the video-cam approach and overcomes some of its limitations.
  17. Farmiga and Garcia have a chemistry that’s unassuming and sneaky, and the pleasure they get from each other’s company ultimately proves infectious.
  18. 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.
  19. Even though the film’s overall impact is blunted by Wheatley’s frequently inscrutable plotting (co-written with Amy Jump), Rose’s images...speak louder than words.
  20. The film is hyper-aware of the ridiculousness of the patriarchal obsession with masculinity-as-penis-size—and yet, in the end, and rather helplessly, it’s still mired in a banal narrative of masculine self-actualization.
  21. To its credit and sometimes detriment, Grand Piano keeps a frothing-at-the-mouth level of insane melodrama going for 75 minutes, aided by Wood’s sweaty, terrified performance, a screenplay rich in ridiculous contrivances, and a swooping camera that never stands still.
  22. There’s a sense with Jimmy P. that Desplechin and his co-screenwriters, Julie Peyr and film critic Kent Jones, are doing everything they can to steer away from contrivance and stick as closely to Devereux’s recollection as possible. What they’re left with is a rigorous, keenly intelligent therapy session that’s largely absent of dramatic tension.
  23. The Visitor is like a puzzle jammed together by a 3-year-old, with the polyglot pieces forced into place whether they fit or not. In other words, it’s an essential curiosity.
  24. 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.
  25. Perfect Sisters may stand accused of being rife with tone-deaf stylistic choices, but the more positive spin is to call it a marginal film elevated, however inadvertently, by the strange specificity of its scenes.
  26. Screenwriter Hanif Kureishi (My Beautiful Laundrette, Sammy And Rosie Get Laid) sometimes overdoes the emotional-seesaw routine... But director Roger Michell (who’s previously worked with Kureishi on The Mother, Venus, and the miniseries The Buddha Of Suburbia) maintains a slightly jagged rhythm that proves disarming, and he has two magnificent collaborators in Broadbent and Duncan.
  27. The Cold Lands goes flat in this middle section. Gilroy’s visual style is strong, but he doesn’t frame the images to chart Atticus’ development, and Yelich, whose only previous screen experience is starring in the video Gilroy directed for R.E.M.’s “It Happened Today,” doesn’t suggest what’s going on beneath the layers of trauma and withdrawal.
  28. Exposed is really just a series of intermingling profiles, which is perhaps why its observations eventually begin to feel slightly repetitive.
  29. The film captures its lush, leafy settings with an understated evocativeness that fully immerses the audience in its sense of place. The problem is that the movie ultimately leans too heavily on that sense of understatement, failing to let genuine, unexpected emotion fully break through to the surface.
  30. 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.

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