For 48 reviews, this critic has graded:
  • 52% higher than the average critic
  • 8% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 5.5 points higher than other critics. (0-100 point scale)

Dom Sinacola's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 91 Mandy
Lowest review score: 35 Miss Bala
Score distribution:
  1. Positive: 33 out of 48
  2. Negative: 2 out of 48
48 movie reviews
    • 72 Metascore
    • 75 Dom Sinacola
    It’s all pretty marvelous stuff, as much a well-oiled genre machine as it is a respite from big studio bloat, a flick more decidedly horror than any version before and yet another showcase for Elisabeth Moss’s herculean prowess.
    • 59 Metascore
    • 60 Dom Sinacola
    Bad Boys for Life is better than it should be—the audience at my screening clapped when it ended—but not quite up to being what it must: a reminder that, you know what, a thousand years from now, Bad Boys will still fucking be here.
    • 90 Metascore
    • 90 Dom Sinacola
    A marvel of so many confounding, disparate elements that somehow conspire to bring us from one side of the earth to the other. One would think the Safdies got lucky were we not wiser to their talent.
    • 54 Metascore
    • 60 Dom Sinacola
    It doesn’t necessarily matter—nothing matters, really—but Dark Fate is so self-serious, so expositionally overwhelming, that its tendency to tell rather than show bleeds into its every aspect.
    • 55 Metascore
    • 40 Dom Sinacola
    The sequel feels compromised, lumped with easy lessons about family and community, piecemeal and cobbled together from bigger ideas and the ever-nagging intuition that the sell-by date on the franchise has long expired.
    • 59 Metascore
    • 50 Dom Sinacola
    Do not let anyone tell you that Joker captures our specific time, represents our specific society, both births and defines our specific zeitgeist, grabs ahold of our specific faces and breathes smoke down our throats. It doesn’t. Joker is, more than anything, fine. And we, more than anything, are not.
    • 64 Metascore
    • 66 Dom Sinacola
    Ready or Not revels in expectations—it’s a survival thriller, dark comedy, gross-out revenge splatterfest—but rarely exceeds them, treading well through each genre signifier, as suspenseful and funny and violent as any one of us could hope.
    • 45 Metascore
    • 69 Dom Sinacola
    Waugh’s action set pieces don’t surprise so much as operate with impressive efficiency
    • 60 Metascore
    • 56 Dom Sinacola
    Compared to the eight films preceding it, the mindlessness of Hobbs & Shaw isn’t a sign of humble poptimist genius, just of something less than what it could have been.
    • 64 Metascore
    • 87 Dom Sinacola
    Levant gives The Mountain context, structure, bones.
    • 72 Metascore
    • 81 Dom Sinacola
    Like a particularly bad trip, Midsommar bristles with the subcutaneous need to escape, with the dread that one is trapped. In this community in the middle of nowhere, in this strange culture, in this life, in your body and its existential pain: Aster imprisons us so that when the release comes, it’s as if one’s insides are emptying cataclysmically. In the moment, it’s an assault. It’s astounding.
    • 43 Metascore
    • 55 Dom Sinacola
    Dark Phoenix was always destined to fail. Limiting the sprawling story to one main arc severely debilitates the original’s emotional resonance, but avoiding Apocalypse’s swollen plot and stakes-less character narratives means reigning in an essentially big saga and cutting all of its awe down to some rote CGI. To make this work in one movie is to deny the essence of the source text.
    • 48 Metascore
    • 69 Dom Sinacola
    Juxtaposing human-sized drama against classic Toho iconography and one jaw-dropping silhouette after another, King of the Monsters is often more magnificently overwhelming than not.
    • 73 Metascore
    • 85 Dom Sinacola
    As video games and action movies parabolically draw closer and closer to one another, John Wick 3 may be the first of its kind to figure out how to keep that comparison from being a point of shame.
    • 77 Metascore
    • 84 Dom Sinacola
    It’s not always clear that Denis’ film is convincing enough to prove a point, or if any point it would prove is inevitably consumed by the nihilism at the core of its narrative. It simply exists, finds a moment of empathy now and then, is maybe pointless in the end. Like every one of us.
    • 71 Metascore
    • 64 Dom Sinacola
    It is, despite its surprisingly gruesome violence, little more than another superhero movie that will make more money than the GDP of a small island nation. It’s pretty good.
    • 81 Metascore
    • 83 Dom Sinacola
    Let the Hitchcock comparisons come. Peele deserves them well enough. Best not to think about it too hard, to not ruin a good thing, to demand that Us be anything more than sublimely entertaining and wonderfully thoughtful, endlessly disturbing genre filmmaking.
    • 60 Metascore
    • 68 Dom Sinacola
    Like any obviously competent action director, Johnson establishes geography and spatial stakes with rigor, but then, like any incompetent action director—cough, Peter Berg, cough—he loses focus, the idea of the action overtaking its execution. It’s frustrating, because Johnson clearly understands what he’s doing.
    • 51 Metascore
    • 59 Dom Sinacola
    The Man Who Killed Hitler and Then the Bigfoot is an exquisitely boring movie, a promise of high-concept adventure that only delivers a stiflingly melancholy ode to the unknown soldier.
    • 63 Metascore
    • 60 Dom Sinacola
    For some, Piercing may be a sign of an exceptionally talented filmmaker still finding his stride, this expertly handled erotic thriller an imaginative, stylized headache. For others, Piercing may be all those things, but ultimately not worth the punishment.
    • 65 Metascore
    • 75 Dom Sinacola
    Everything is not awesome, but everything isn’t so bad either. How could it be when everything is everything? Perhaps this is the lesson on which kids can glom amongst this admittedly overlong, overwhelming experience: Yoda was wrong; trying is what matters. It’s a lovely lesson, and a lovely movie.
    • 41 Metascore
    • 35 Dom Sinacola
    Gina Rodriguez, who proved in Annihilation that she’s capable of something so much more addled and kinetic than this, does what she can with such aggravating material, but everything around her insults whatever emotional depth she can mine despite what she’s given.
    • 59 Metascore
    • 39 Dom Sinacola
    We’re typically never trusted to accept the reality of an icon’s life for what it is rather than what media consultants want it to exemplify. What the film’s real failing amounts to is any lack of interest in Ginsburg’s true superpower: Her inhuman, sleepless drive to do the work.
    • 87 Metascore
    • 85 Dom Sinacola
    The heartbreaking bravery of Barry Jenkins’ third brilliant film is that he rests upon a clean, aching ambiguity: Such hope is both enough, and will never be enough, because nearly 50 years later nothing has changed.
    • 55 Metascore
    • 69 Dom Sinacola
    For the most part, the DCEU just can’t square its admittedly exciting set pieces with solid storytelling. In turn, whenever Aquaman pops a squat to unload exposition, it grinds to an interminable halt. Those action scenes, though. Revolutionary at best, innovative at worst.
    • 66 Metascore
    • 64 Dom Sinacola
    Where Hill’s characters fill every frame with warmth and empathy, the world they inhabit is as contrived as a memory one trusts too much.
    • 81 Metascore
    • 91 Dom Sinacola
    As was the case in Cosmatos’s first film, the comparatively sedate Beyond the Black Rainbow, each frame, every shot of Mandy reeks of shocking beauty, stylized at times to within an inch of its intelligibility, but endlessly pregnant with creativity and control, euphoria and pain, clarity and honesty and the ineffable sense that Cosmatos knows exactly how and what he wants to subconsciously imprint into the viewer.
    • 48 Metascore
    • 72 Dom Sinacola
    Once all these characters come together, the film’s manic, disjointed first act settles in for some seriously rollicking ’80s-esque hijinks, replete with brand new Predator aliens and a healthy dose of worldbuilding that touches on today’s every hot button issue, from climate change to genetic modifications to anti-ableism that’s actually probably just ableism.
    • 51 Metascore
    • 67 Dom Sinacola
    It’s true that no one’s really making films like this anymore, but it’s also true that everyone pretty much wants to.
    • 86 Metascore
    • 85 Dom Sinacola
    McQuarrie’s sense of building a scene on the barest of elements, communicating the most empirical of information, is so breathlessly impeccable, the plot barely seems to matter aside from creating easily understood stakes and giving Ethan Hunt a reason to keep, in the parlance of the film, figuring it out.

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