The Dissolve's Scores

  • Movies
For 1,334 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 Sin City: A Dame To Kill For
Score distribution:
1,334 movie reviews
  1. There’s a real fascination in watching the gears of this massive machine grind. Once the student protest comes to dominate the film’s second half, however, things get dicier.
  2. Wadjda is an object of stark beauty, an oasis of free-spirited cinema emerging from the desert.
  3. It’s a big leap forward for Rock as both an actor and a filmmaker, written and directed with the nervous, live-wire energy that has eluded his on-screen work for so long.
  4. The film is essentially a war of attrition between emotion and pragmatism, the rare thriller fueled by stress rather than speed.
  5. Director Bennett Miller and screenwriters E. Max Frye and Dan Futterman have thought through every scene and every line in Foxcatcher. Nothing is irrelevant. The film proceeds like a well-constructed argument.
  6. The film sometimes seems to get lost in self-admiration and its own melancholy mood. Still, Amirpour maintains that mood exquisitely well.
  7. Little about [Östlund’s] work is simple-minded or cut-and-dried. His films marinate in viewer discomfort.
  8. The two halves of Closed Curtain complement each other, but the first is more compelling than the second, partly because the mysteries of construction trump the grind of deconstruction, and partly because Panahi channeled his anguish more directly and affectingly with This Is Not A Film.
  9. As director Dominique Benicheti invites the audience to contemplate this way of life—and that’s all the film seeks to accomplish, which is plenty—he reveals the virtues of simplicity, routine, and quietly communing with the natural world.
  10. It all serves a portrait of 1970 California that mixes absurdity with an air of looming cataclysm, a volatile formula that wouldn’t work without Phoenix’s performance.
  11. The most tremendous thing about Starred Up is exactly how simple it keeps things, and what a richly nuanced story emerges in the process.
  12. As in all of Wright’s films, the surface is just as satisfying as the subtext: hilarious comedy, compelling character drama, eye-popping visuals, and a juicy science-fiction story.
  13. Norte is the rare film where the characters seem simpler the longer we spend time with them. They’re humans that evolve into types.
  14. Thanks to remarkable access to her subject, and a refusal to turn away during even the most personal moments, Karasawa has made something deeper: a portrait of Stritch just as the aging process is beginning to punch holes in her concrete dam of a personality.
  15. When I Walk makes it very clear that Jason isn’t all alone despite his support system. Rather, his support system, including his mom, makes him who he is, even more than his malfunctioning legs and hands.
  16. While Fanon wrote with intense anger, he made his case more on an intellectual level than an emotional one, seeking to use his enemies’ words and logic against them. Olsson prefers to swing wildly.
  17. A beautiful, mysterious, beguiling cinematic doodle, and an absolute master class in mise-en-scène, unfolding in odd, fragmented frames and precisely choreographed movement within those frames.
  18. Though Rebels Of The Neon God is missing the austerity and discipline that would make Tsai’s master-shot style so effective—and funny—its relatively conventional approach (including a recurring musical theme!) doesn’t obscure the beautiful, enigmatic tone that’s long set him apart.
  19. In some moments, White God is a fast-moving thriller... At other times, it’s a standard-issue slasher movie... But when Mundruczó pushes the camera in close on Lili or Hagen, it just becomes a family drama, and a portrait of longing—for freedom, for emotional reciprocity, for comfort.
  20. Il Futuro is a playful, soulful movie, affecting because it’s populated by lost children who can somehow sense they’re in a movie, and that in a movie, the only future is The End.
  21. 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.
  22. It’s a valuable historical document, to be sure; as a movie, however, it’s a dry, grueling experience, lacking Shoah’s monumental grandeur.
  23. Clouds Of Sils Maria is a great midlife crisis film, in other words, and, like Irma Vep, it’s also a great meta-commentary on contemporary moviemaking, with Assayas making keen observations about modern celebrity, screen-devouring blockbusters, Internet gossip culture, and the next generation of actresses, represented here by Kristen Stewart and Chloë Grace Moretz.
  24. No matter how much this story has been streamlined for accessibility’s sake, its import remains potent. In spite of numerous missteps, Pride gets that across.
  25. 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.
  26. Gone Girl reveals itself as an optimal meeting of the minds, a perfect amalgam of a writer and a director with complementary fixations.
  27. Give the Israeli drama Policeman some credit: It keeps finding new ways to be unsatisfying.
  28. Walker edits with an eye for poeticism, and at times her choices are unbearably painful.
  29. The main problem with Jodorowsky’s Dune is that a significant amount of what makes Jodorowsky’s work special gets lost in Pavich’s fairly ordinary approach to the documentary form.
  30. As a piece of filmmaking, the documentary The Five Obstructions is nowhere near as artful as Leth’s films-within-the-film.

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