The Dissolve's Scores

  • Movies
For 614 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 4.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Lowest review score: 0 Tyler Perry's A Madea Christmas
Score distribution:
  1. Negative: 78 out of 614
614 movie reviews
  1. [McQueen's] film is a tough, soul-sickening, uncompromising work of art that makes certain that when viewers talk about the evils of slavery, they know its full dimension.
  2. The film uses the cutting edge of technology to take viewers to the far reaches of the human experience, but also to create a sense of empathy, of investing in the life of another person. It’s a remarkably complex film, but an admirably simple one, too.
  3. Where Barton Fink sometimes resembled a horror movie, Inside Llewyn Davis plays like an elegy. Its conclusions are more regretful than angry, and while the conflict between art and commerce is no less central, there’s much more emphasis on that conflict’s personal toll.
  4. Her
    Her is a 21st-century love story that perfectly captures the mood of the times and finds new inroads into the exhilaration and heartbreak that have existed since the first “I love you.”
  5. 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.
  6. It’s both unfailingly exciting and overly familiar, a restless but risk-averse film that’s a little too content to borrow from what’s worked before.
  7. The Act Of Killing raises all kinds of provocative questions about the sins of nations in transition, and about how important it is for those in power to control the narrative.
  8. As specific as the film is to Italy at the turn of the turbulent 1970s, it’s also a film about how power first corrupts, then makes mad those who possess it.
  9. It’s emotionally and sexually explicit, as raw as an exposed nerve at times, but Adèle and Emma have public lives as well as private ones, and the film’s great achievement is holding them in balance and observing how they relate to each other.
  10. There’s nothing lost in his continued refinement of style; if anything, it makes the pleasures of his work that much more acute.
  11. This film confirms that Panh approaches the past not as a historian, but as an artist, and an exceptionally vital one at that.
  12. It’s a classic tale of survival that draws on how movies, in the right hands, can make viewers see the world through others’ eyes, and to feel what keeps them grasping as it threatens to slip away.
  13. As much as any documentary since Errol Morris’ A Brief History Of Time, Particle Fever excels at expressing advanced scientific theory through graphics that are simple, attractive, and utterly approachable.
  14. Manakamana is both calming and imagination-sparking, forcing viewers to look at human faces for 10-minute stretches, whether those faces are talking excitedly or quietly looking around.
  15. Ernest & Celestine isn’t just cute or thrilling, though: It’s openly funny, in a wry, unpredictable way.
  16. Nebraska is one of Payne’s best films, a near-perfect amalgam of the acrid humor, great local color, and stirring resonances that run through his work.
  17. Part period piece and part coming-of-age story, King Of The Hill balances an incident-packed script with muted tones, painting a rich, absorbing picture of one boy’s struggle to live by his wits.
  18. Little beyond Servillo’s presence gives the film any ballast, which is both asset and liability, freeing Sorrentino to pepper the screen with wild setpieces and fits of inspiration while encouraging a certain shapelessness.
  19. While Drug War is ultimately more an exercise in craft than a movie with a lot on its mind, it’s a remarkably skillful exercise, and hardly devoid of ideas.
  20. Let The Fire Burn is a fascinating look at official overreaction, government overreach, and the corrupting effects of prejudice on powerful institutions.
  21. It’s a cinematic love song, pure and simple, and Weber isn’t about to let ugly facts get in the way of a parade of gorgeous images and intoxicating ideas.
  22. Coogler isn’t exactly an invisible hand. He pokes and prods his audience at every turn: Neither the false moments nor the powerful ones leave much mystery about how we’re supposed to feel.
  23. Farhadi isn’t interested in judging his characters so much as comprehending them in all their complexity, and registering the consequences of their actions, particularly on children.
  24. A singularly beautiful nostalgia piece that radiates with love and sadness, and doesn’t extract one type of feeling from another. It’s a film of aching bittersweetness, impeccably realized, past perfect.
  25. It catches, in the most authentic and democratic way possible, a collection of people who’ve developed a strong taste for revolution, but are still trying to figure out what to do with it.
  26. It’s a formulaic story that takes full advantage of these broad, familiar formulas to win viewers, but finds enough unique detail to retain its own identity.
  27. Fantastic Mr. Fox may be his most purely pleasurable film to date, evoking the Dahl books and Rankin-Bass productions that so transported him as a kid.
  28. Taken as a whole, Blackfish does an admirable job of preaching without force-feeding, seamlessly blending opinion with reportage, and addressing its central issues from enough angles to make a series of end-runs around dubious viewers.
  29. While the film’s individual moments and images are often fantastically wrought, the story elements often seem as unintegrated as the moral exegesis.
  30. Captain Phillips could have stopped at simply depicting what happened; it’s the steps it takes to examining why it happened that make it extraordinary.

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