The Dissolve's Scores

  • Movies
For 1,470 reviews, this publication has graded:
  • 34% higher than the average critic
  • 6% same as the average critic
  • 60% 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: 55
Highest review score: 100 Inside Out
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
1470 movie reviews
  1. If the movie is about any one idea in particular, it’s about how parents do their best to stay on top of how their children grow, by taking pictures and documenting the memorable occasions, only to learn too late that most of life happens between the posing.
  2. [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.
  3. 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.
  4. Leigh’s generous approach to capturing the fullness of Turner’s life, through unhurried rhythms and scenes, makes Mr. Turner memorable.
  5. Inside Out has a rich, unpackable story. But like all Pixar’s best films, it’s fleet and accessible, trusting the audience to keep up with an adventure that unfolds at a breakneck pace.
  6. First Cousin Once Removed doesn’t come across as overly demeaning or exploitative, because Berliner himself is so kind to Honig in their meetings. But it’s hard to deny that Berliner is using Honig’s deteriorating condition as fodder for his art, just as it’s hard to deny that Berliner’s willingness to risk that criticism is what makes First Cousin Once Removed such a great film.
  7. 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.
  8. Timbuktu’s delicate tone is totally unexpected and specific to Sissako, who keeps finding notes of vulnerability.
  9. Leviathan itself feels like a brave, lonely act of rebellion against the system, deeply pessimistic about the possibility of it ever working in the people’s favor. It advocates for a stiff drink.
  10. Ida
    Ida’s piercing intimacy makes the deepest impression, but its vision is deceptively wide-reaching despite a scale that’s deliberately pared-down and small.
  11. The Elkabetzes don’t need the audience to have any firsthand experience of what Viviane and Elisha are actually like at home. Gett works better if the viewer has to puzzle out the truth from testimony, asides, and outbursts.
  12. 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.”
  13. 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.
  14. If Fury Road were only interested in action, it would still be a stunning achievement, but the film has more on its mind.
  15. There’s no other movie quite like it.
  16. 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.
  17. 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.
  18. The thrill of The Overnighters is in witnessing a heartrending payoff that could not be anticipated nor written—and, miraculously, closes the movie on a perfect irony.
  19. 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.
  20. In combining the dread and survival politics of George Romero and The Night Of The Living Dead with the macho heroics and succinct wit of Howard Hawks, Carpenter found his own voice and changed the course of genre filmmaking.
  21. Throughout The Tale Of The Princess Kaguya, even when it gets bogged down in too much story, the animation is so gorgeous that any given frame could pass for a masterwork.
  22. It’s a film that captures humanity at its best and its worst, sometimes simultaneously.
  23. The ultimate value of the famed filmmaker’s latest documentary—a subject National Gallery turns into a reflexive concern—is not that Wiseman makes it possible for a broader audience to see these priceless works of art, but that the scope of his project invites all audiences to look at them through an illuminating new lens.
  24. DuVernay stages well-known public events like the “Bloody Sunday” march with scrupulousness, scope, and a gut-wrenching visceral power. But Selma’s true success is as a chamber piece, not a thundering historical epic.
  25. The digressiveness of Y Tu Mamá También is its masterstroke.
  26. The film’s aversion toward clichés and hitting expected beats lends it a rare, welcome edge of danger.
  27. There’s nothing lost in his continued refinement of style; if anything, it makes the pleasures of his work that much more acute.
  28. This isn’t merely about the follies of a misanthrope, it’s an epic tragedy about life in the Ivory Tower and the inability to understand—much less empathize with—other human beings.
  29. 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.
  30. Poitras fashions Citizenfour into a spy thriller whose intrigues bleed into everyday life. She doesn’t want the audience to feel like Snowden’s revelations are limited to him and potential enemies of the state—or even to activist journalists like her and Greenwald. She makes the threat feel as pervasive as they believe it to be.

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