The Dissolve's Scores

  • Movies
For 610 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 5.3 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: 77 out of 610
610 movie reviews
    • 74 Metascore
    • 70 Critic Score
    Given that this is a film about a very specific political situation, with lifetimes of scholarship and signifiers behind it, writer-director Hany Abu-Assad made a bold decision in pulling back and going broad.
  1. 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.
  2. While virtually every shot looks like a work of art, much of the beauty of Ain’t Them Bodies Saints comes from Lowery’s refusal to choose sides.
  3. As the rare overlap between music doc and advocacy piece, Musicwood is hopeful about a relatively unsung issue without necessarily being naïve.
  4. While The Retrieval’s sense of place may ultimately be stronger than its sense of purpose, it works as the story of a young boy realizing his agency, and it galvanizes as the story of an independent filmmaker realizing another portion of his medium’s infinite potential.
  5. What makes Prisoners more potent than its oft-implausible mystery should allow is the way Villeneuve lingers over the textures of a terrible event.
  6. Narco Cultura makes it abundantly, forcefully clear that the illicit business of narcocorridos thrives on the illicit business of cartels—and business is still booming.
  7. With Mysterious Skin, Araki burrowed into the hearts and minds of his audience, looking to provide his viewers with Neil and Brian’s deeper understanding of how to piece together a fractured life, then go looking for the fragments that are still buried deep.
  8. What makes Like Father, Like Son so quietly powerful is that for the most part, it doesn’t traffic in stereotypes.
  9. 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.
  10. 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.
  11. Mistaken For Strangers, which covers Tom’s time with the band and his subsequent attempts to piece together a movie about that time, is a sweet, funny, and sad film, but also an exceedingly odd one.
  12. The irony of Prince Avalanche is that its most conventional elements, the ones that wouldn’t be out of place in a Hollywood buddy comedy, are by far its most satisfying. It’s only when Green reaches for the old poetry that the film seems excessively precious and out of balance.
  13. Whether it’s possible to go on loving somebody who’s no longer himself is a momentous question that this movie largely ducks, ultimately providing an answer that seems imposed from without rather than arrived at organically.
  14. The film is less effective as an inspirational saga than as a simple portrait of a marriage in its twilight years, with the house-in-progress serving as a metaphor for love that endures by being constantly renewed.
  15. It isn’t a terribly intimate portrait of Haldeman, Ehrlichman, Chapin, or Nixon, but it is revealing in its own right, as a fascinatingly warped and aged Polaroid of an epic life that’s grown more compelling with the passage of time.
  16. Wong’s usual concerns overwhelm the film, and though his pairing of fisticuffs and longing is sometimes awkward, he surrounds the awkwardness with some of the most beautiful images in his career. In Wong’s world, beauty goes a long way.
  17. Big
    It’s a funny, bittersweet film that opens as a cautionary tale about growing up too fast, but deepens into a movie about the unplumbable gulf between childhood and adulthood, and what it feels like to stand on either side, wishing for a way over.
  18. JFK
    So is JFK a good movie? Actually, it’s a great movie that looks better with each passing year. Even aside from what it’s saying, and even with the many, many forced moments, JFK has a mad genius about it.
  19. Joe
    Joe’s brilliance doesn’t lie in its destination, but in the gripping, intense, surprisingly joyous and funny journey it takes to get there.
  20. 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.
  21. The Rocket is a well-constructed delivery system for sparkly cheer, but it lacks a more substantial payload.
  22. The Trials Of Muhammad Ali’s real value is in showing—not just talking about—the time and place in which Ali lived.
  23. The tedium of The Raid 2’s setup is offset by some of the most jaw-dropping, bone-crunching, flesh-ripping setpieces ever filmed.
  24. This Is Martin Bonner is a story of faith and redemption, but Hartigan casts aside the conventional wisdom that there must be a causal link between the two.
  25. Taken in the right spirit, The Pervert’s Guide To Ideology is a lot of fun, like watching a movie with a friend, then going out for drinks and talking late into the night. Just don’t expect to get a word in edgewise.
  26. Strongman is a heartrending character study of a man blessed with superhuman strength, but defeated and overwhelmed by the everyday bullshit of life.
  27. It deserves credit for avoiding the conventions of romantic comedies and defying audience expectations, but only to a degree. Instead of hitting the expected notes and beats, Drinking Buddies instead ambles sideways. It’s headed nowhere in particular, but at least the voyage is pleasant.
  28. At its best, The Broken Circle Breakdown has the feel of life as it’s remembered—moments out of time tethered together by the feelings of those living them.
  29. Dekker knows who she is, what she wants to do, and how to get it done, and Maidentrip wisely sails off the tailwinds of her confidence and boundless curiosity.

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