The Dissolve's Scores

  • Movies
For 1,484 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 7.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Long Day Closes
Lowest review score: 0 The Moment
Score distribution:
1484 movie reviews
  1. 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.
  2. Something, Anything is the rare film that gently asks the big questions, then gives us space, and room.
  3. 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.
  4. 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.
  5. Little Feet barely even qualifies as slight. It’s more of a limbering exercise for its director than a full-fledged project, and it’s overly reliant on his offspring’s minor charms.
  6. Despite a too-neat resolution, the characters in Results haven’t figured themselves out, much less their relationships, and Bujalski is perfectly comfortable sorting through their confusion.
  7. Appropriate Behavior is very funny, even while it’s also being real and heartfelt. It’s a raw story with refined production values, and Akhavan is so open and true in the lead role that what could be an overly insular story instead feels relatable and amusing.
  8. Transitioning from Reservoir Dogs to From Dusk Till Dawn with a lunatic’s grace, Witching & Bitching resolves itself as a gloriously gory civil war between men and the grotesquely literal manifestations of how the worst of them see the fairer sex.
  9. 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.
  10. The director’s observant approach to the material helps pave over the frustrations.
  11. Even as Cold In July’s overall arc approaches something of a dead-end, the individual scenes and performances are remarkable.
  12. While far from perfect, I Believe In Unicorns is unusually attuned to how it feels for a teenager to have her first intense, quasi-mature relationship, and how it feels for her to use that love affair as an escape from some serious problems at home.
  13. As it settles in, the thrilling chutzpah of The Blue Room’s opening salvo gets lost in the intricate curlicues of the plot, which take away much of its illicit rush.
  14. A lesser filmmaker, and a lesser actor, might have made American Sniper into an unthinking bit of jingoism. Eastwood and Cooper keep finding respectful complexities in Kyle’s story, until the film reveals itself as too simple to have much use for them.
  15. 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.
  16. 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.
  17. 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.
  18. Diplomacy is at its worst when Schlöndorff consciously attempts to open the play up.
  19. It’s appropriately weighty and filled with loss-of-innocence undertones and some fun cultural detours, yet the film’s odd flatness makes it hard to invest in.
    • 72 Metascore
    • 80 Critic Score
    The film works best when it focuses on the talking heads. Reuveny captures everyone’s initial reactions to the news and how their feelings change over time, uncomfortable silences and all. She knows exactly when to cut and when to pause, to let those moments of silence speak for the deceased, and let the pain of the past resonate within the frame.
  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. It’s a call to action in the form of an adoring profile, which is effective (and affecting) strategy, but narrow, propagandistic filmmaking.
  23. With its autumnal, end-of-days feeling, Gore Vidal: The United States of Amnesia ends up serving as a capably assembled but deeply felt obituary for both its title subject and the late Hitchens.
  24. It’s a brutal argument to make: that the most relevant information to convey about the life of an influential writer is the fact that she struggled early and often. This approach may seem philosophically appropriate for a movie about existentialists, but dramatically, it makes the film a bit of a slog.
  25. 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.
  26. Happily, what Dope does well, it does extremely well—namely letting Malcolm, Diggy, and Jib hang out together and navigate the world on their own terms. All three leads are charming, and together, they convey a real sense of camaraderie, the kind that only develop between misfits who find each other.
  27. The film is righteous but propagandistic, gearing its considerable insight into the Deepwater disaster and its aftermath into a narrow, prodding call to arms. For a documentary wide-ranging to the point of being diffuse, the last-ditch rallying cry seems entirely out of place. It undermines its own complexity.
  28. Everything Monkey Kingdom lacks in scientific rigor, it makes up for in pure entertainment value—and then some.
  29. A prime example of how to deliver a film on an urgent topic that doesn’t feel like medicine.

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