TheWrap's Scores

  • Movies
For 191 reviews, this publication has graded:
  • 46% higher than the average critic
  • 0% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 5.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Locke
Lowest review score: 0 The Identical
Score distribution:
  1. Positive: 77 out of 191
  2. Negative: 45 out of 191
191 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. What makes Neighbors exceptional, rather than merely great, is its successful attempt to reinvent the studio comedy.
  3. 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.
  4. 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.
  5. 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.
  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. The only agenda of this scruffy and urbane comedy, about a young comic contemplating abortion, is to be true and funny.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. The Fault in Our Stars may not show the true messiness of cancer, but it does grapple with death and the ability to survive great loss. Maybe that's enough truth for one movie.
  13. A balm for the harried soul, Land Ho! is part travelogue, part therapy session. Watching it could inspire you to call an old friend or book a trip to an exotic locale. Maybe both.
  14. 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.
  15. 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.
  16. 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.
  17. Whiplash redefines the teacher movie (to say nothing of the young-musician movie) with a brutal energy and no easy resolutions. It's a challenging tune that will nonetheless get stuck in your head.
  18. Shelton's comedy isn't just smart, but cheerfully wise; not just funny, but cleverly and endlessly so.
  19. An exquisite, hand-drawn marvel and an alternatingly jubilant and heartrending epic pastoral.
  20. Citizenfour finds its strength in both the story and the telling: The information about government spying is chilling, of course, but the movie also gives us the opportunity to get to know the elusive Snowden.
  21. The Babadook is the rare horror tale that's also a triumph of empathy.
  22. Unabashedly truthful and restlessly intelligent, Akhavan’s remarkable, near-perfect debut has wit and charisma to spare. Miss it at your own risk.
  23. Sweet and sharp and exciting and hilarious, Big Hero 6 comes to the rescue of what's become a dreaded movie trope — the origin story — and launches the superhero tale to pleasurable new heights.
  24. Begin Again is as uncynical and unironic a film as I've seen in a while, which will no doubt be a turn-off to many. But like a catchy summer jam, it doesn't need to apologize for being exactly what it is, nor do its fans have to feel guilty for getting it stuck in their heads.
  25. Get on Up belongs, as it must, to Boseman, who delivers the kind of charisma, showmanship, sex appeal, and tireless energy that allows us to believe him as the Hardest Working Man in Show Business.
  26. Green operates in a smarter mode of storytelling, giving the audience the benefit of the doubt that they'll notice the details, and he's clearly whispered Pacino into giving a nuanced and human-sized turn.
  27. The Book of Life manages to be genuinely surprising and engrossing.
  28. Marshall deserves credit for knowing how to shoot and cut (alongside editor Wyatt Smith, “Thor: The Dark World”) a musical number, and his work here ranks much closer to his success with “Chicago” than to his dismal “Nine.”
  29. Writer-director Ruben Ostlund (“Play”) brilliantly mines this dark material for awkward hilarity.
  30. Coppola doesn't let these kids off the hook for their stupid decisions, of which they make many, but she's not judging them for their folly, either. Unchecked privilege and clueless parents are trotted out as part of the problem, but Coppola seems more interested in exploring human frailty and vulnerability than she is in digging for a social statement.

Top Trailers