The Dissolve's Scores

  • Movies
For 1,477 reviews, this publication has graded:
  • 35% higher than the average critic
  • 6% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 American Graffiti
Lowest review score: 0 Don Peyote
Score distribution:
1477 movie reviews
  1. It’s simultaneously tricky and profound—a documentary about something small that gradually grows to cover so much more.
  2. Gunn, a B-movie enthusiast who got his start at Troma, has found a way to bring funkiness and humanity to a galaxy-spanning blockbuster, one filled with dogfights and floating fortresses, but also with heroes quick with a quip, fast on the draw, and more than a little beaten up by the universe.
  3. Hittman demonstrates enough talent in It Felt Like Love to suggest that she could make a terrific film. All she needs is an original idea.
  4. While The Hunt skillfully puts viewers through the wringer, it’s often for no higher purpose than pushing buttons and generating outrage.
  5. Quietly, persuasively, Tokyo Waka asks whether cultures decline by pouring resources into propping up entities that can no longer support themselves.
  6. Though Cartel Land isn’t interested in making fact-filled statements about the drug war, Heineman’s ingenious conceit gets at the difficulty ordinary people have in doing something about it.
  7. Every part of Wojtowicz’s story is touched by madness, though The Dog doesn’t miss the depression and tragedy that lingers around it.
  8. Wingard’s direction is a robust throwback to the VHS gorefests of yore, but with a distinctly more modern slickness and snap, and he knows how to play around with the audience.
  9. Listen Up Philip doesn’t care to be liked. And in that, it deserves to be loved.
  10. Going strictly by plot description, Ritesh Batra’s The Lunchbox sounds a little like an Indian knock-off of a Nicholas Sparks movie, but it plays out more like Brief Encounter.
  11. As a piece of filmmaking, Safe is brilliant for the way Haynes, in concert with cinematographer Alex Nepomniaschy and composer Ed Tomney, blankets the mundane in the eerie tone of science fiction and horror, especially in the first half.
  12. What keeps Horses lively is its sharp young cast—especially the two Rachids, who are also brothers in real life, and do an expert job of showing how Hamid and Yachine slowly change places.
  13. Cheryl is a thoroughly realized, warts-and-all character, and the flashbacks contribute to that. But like their heroine, the filmmakers do some fumbling to get to their destination.
  14. It’s more gentle and fanciful in tone, and though it’s as episodic and digressive as Jodorowsky’s best-known work, the various pieces add up to a clear, not-so-odd narrative.
  15. Despite its attention-grabbing logline and gleeful embrace of raunchy, frequently scatological humor, Obvious Child is at heart a well-realized, straight-ahead rom-com, one with the potential to reinvigorate a genre that’s been flagging for decades.
  16. Tim’s Vermeer is more of an engineering lecture. And while it’s edifying in and of itself, it’s almost more fascinating because of the reasons it never transforms into anything else.
  17. The rote hero/villain face-offs are exciting, but the film is in no hurry to fast-forward to them. DeBlois seems to have a real passion for this world, and like Hiccup, he seems much more interested in soaring through the clouds than in fighting on the ground.
  18. The ensemble cast is strong, and the filmmaking supple, but the narrative never quite catches fire.
  19. Unless this is an unusually great year for comedy, there will be few funnier or more quotable movies than What We Do In The Shadows.
  20. For a movie that’s so photo-realistic in its backgrounds and detailed in its character design, Ghost In The Shell is just as effective when it goes minimal, suggesting presence through absence.
  21. There’s a scolding tone to Nightcrawler that runs counter to its pulp energy, as if Gilroy is telling the audience to be alarmed by the things that turn them on. But much as Gilroy tries to be his own killjoy, Gyllenhaal’s wickedness prevails.
  22. It’s not just bigger, it’s better, and it bodes well for the future of the series, if not necessarily of its unlucky protagonist.
  23. Even though Gondry and Chomsky’s very different sensibilities don’t mesh in such a way that either man’s work gains substantially from the alliance, they’re each such good company individually that Is The Man Who Is Tall Happy? is still entertaining.
  24. Happy Valley’s subject matter is difficult, but not Bar-Lev’s approach, which unfolds like an outstanding piece of long-form magazine reportage, taking into account history, culture, and the personalities of multiple major characters.
  25. A heavy-breathing, narrowly focused outrage-generator about a corruption case that both the court of public opinion and the actual court system have already agreed was outrageous.
  26. Here’s a seemingly twee movie that ultimately, surprisingly argues that some music isn’t for everybody, some people are too broken to fix, and some would-be artists are better off in the audience.
  27. Howard and Morgan make the journey intense enough to keep audiences guessing up to the finish line.
    • 75 Metascore
    • 70 Critic Score
    Josue shows perhaps too much restraint, as if she’s not ready to deal with her lingering grief and can’t acknowledge it. This is a difficult criticism to make about a documentary this personal. So perhaps it’s interesting that the film’s shortcomings, then, are also simultaneously one of the more fascinating things about it, revealing the inevitable difficulty of filming grief, no matter the distance.
  28. What’s missing from The Punk Singer is real friction or ambiguity.
  29. 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.

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