TheWrap's Scores

  • Movies
For 408 reviews, this publication has graded:
  • 51% higher than the average critic
  • 0% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 3.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 James White
Lowest review score: 0 The Identical
Score distribution:
  1. Negative: 87 out of 408
408 movie reviews
  1. Hardy might be past needing a star-making performance, but this is the kind of work that raises him to highest echelon of actors working in film today. He and Knight remind us that artists can astonish with the simplest of methods.
  2. Whether it's the closest you'll get to the beach this year, or you have to tear yourself away from the dunes to enjoy it, it's an essential part of any movie-lover's summer.
  3. What makes Neighbors exceptional, rather than merely great, is its successful attempt to reinvent the studio comedy.
  4. Abbott (“A Most Violent Year,” HBO’s “Girls”) is a revelation, creating a multidimensional character whose battling, sometimes uncontrollable emotions are clear in his warm and expressive eyes.
  5. You don't have to like punk rock to fall in love with We Are the Best!; if a more joyous film comes along in 2014, then it's a good year indeed.
  6. Selma is one of the best American films of the year — and indeed perhaps the best — precisely because it does not simply show what Dr. King did for America in his day; it also wonders explicitly what we have left undone for America in ours.
  7. As he has throughout his career, from “Slacker” and “Dazed and Confused” to the lovely “Bernie” to the “Before” trilogy, Linklater proves himself as a filmmaker unconcerned with flash and dazzle but thoroughly compassionate and empathetic to a wide range of characters.
  8. Grandma is both smart and sweet, mature and bawdy, knowing its characters’ flaws yet open to the possibilities of people acting upon their best instincts. It is without a doubt one of the year’s best films.
  9. Both haunting and sweeping, Carol represents another masterwork from one of this generation’s great filmmakers.
  10. Spotlight is that rare journalistic procedural that deserves to be mentioned in the same breath as “All the President’s Men,” and while the movie never glamorizes or makes saints of its hard-working newsgatherers, it does stand as a reminder of the power and importance of a free press, particularly in ferreting out local corruption and malfeasance.
  11. Where Fury Road stands apart from so much of today’s action cinema is that the human element remains front and center.
  12. Wild Tales represents the work of an exceedingly skillful storyteller.
  13. The only agenda of this scruffy and urbane comedy, about a young comic contemplating abortion, is to be true and funny.
  14. Like so many memorable yet hard-to-describe movies, Why Don't You Play in Hell? takes a ridiculous concept and commits to it fully. You might laugh with surprise or shriek in horror — both, most likely — but you certainly won't dismiss it.
  15. Assayas clearly loves actresses — their spontaneity and their self-doubt, and the mercurial way they can switch from one to the other — and Clouds of Sils Maria offers both a compassionate exploration of their lives and a powerful showcase for three of them to do some of their best work to date.
  16. The pacing, the performances (Albert Brooks is a stand-out as Abel's lawyer), and every facet of the production serves the story and the film's larger ideas.
  17. The chasm of the wealth gap and the slow destruction of the middle class should matter to us all, and films like Two Days, One Night remind us of the human faces affected by corporate greed.
  18. There are plenty of laughs — and nothing that goes over a kid’s head to an adult funny bone is smutty or smarmy — and the sentiment never feels strained or artificial.
  19. The New Girlfriend is a delicate figurine: too quaint to feel necessary in the current climate of ever-bolder representations of trans lives, and yet rescued from disposability by its delicate beauty.
  20. Anchored by exceptional performances by the main actresses, Breathe is a confrontation with the terrifying volatility of adolescence.
  21. Nothing here feels cheap or hasty, which is why the horror, when it comes, is all the more chilling and grim. Slick, sharp and legitimately terrifying, The Gift is a truly brilliant thriller — and, one hopes, the first of many features from Edgerton to come.
  22. The director has wisely assembled an ensemble of performers who know how to handle a long take; this will certainly rank among Keaton's career highlights — in a role that allows him to completely dump out his paintbox and show a vast range of emotion — but everyone shines.
  23. You don’t have to love De Palma’s movies to find De Palma a fascinating look at a vital period of American film history, through the eyes of a controversial artist.
  24. An exquisite, hand-drawn marvel and an alternatingly jubilant and heartrending epic pastoral.
  25. Unflinching yet unburdened, Miss You Already is like the best kind of hug: warm, reassuring, cathartic, and a fleeting but vital reminder that there’s at least as much good in the world as there is bad.
  26. First-time helmer Peter Sohn and screenwriter Meg LeFauve (“Inside Out”) have created a fantastic and frequently exhilarating feature that showcases Pixar’s greatest strengths: technical brilliance, emotional texture, crossover appeal, and an impish sense of humor that takes the utmost advantage of the animated form.
  27. Though The Dog can be seen through any number of lenses — a study of media distortion, an illustration of life-sustaining grandiosity, a love story gone deliriously wrong — it's perhaps most meaningful as an exploration of the limits of the gay rights movement's political correctness.
  28. Not only brutal but also brutally funny, Gone Girl mixes top-notch suspenseful storytelling with the kind of razor-edged wit that slashes so quick and clean you're still watching the blade go past before you notice you're bleeding.
  29. Perhaps most importantly, not only does the film stress the importance of using math and physics and botany and chemistry to solve problems, but it also makes a plot based on scientific inquiry and audacity just as exciting and even more unpredictable as the movies’ usual brand of problem-solving, the kind that involves punching everyone and then blowing everything up.
  30. There’s no doubt that The DUFF is clever, funny and quotable enough to become this decade’s “Mean Girls.” Watch your back, Regina George — there’s a new queen bee in town.

Top Trailers