For 49 reviews, this critic has graded:
  • 53% higher than the average critic
  • 8% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 5.4 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: 34 out of 49
  2. Negative: 2 out of 49
49 movie reviews
    • 65 Metascore
    • 69 Dom Sinacola
    A sequel of rare sincerity, Bill & Ted Face the Music avoids feeling like a craven reviving of a hollowed-out IP or a cynical reboot, mostly because its ambition is the stuff of affection—for what the filmmakers are doing, made with sympathy for their audience and a genuine desire to explore these characters in a new context. Maybe that’s the despair talking. Or maybe it’s just the relief of for once confronting the past and finding that it’s aged considerably well.
    • 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.
    • 91 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.
    • 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
    • 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.
    • 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
    Us
    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.
    • 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.
    • 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.
    • 88 Metascore
    • 83 Dom Sinacola
    What Leave No Trace portrays so beautifully, with so much unspoken grace, is that divide between living and surviving to live. One can find all of that dissonance in Foster’s fathomless eyes.
    • 85 Metascore
    • 85 Dom Sinacola
    It’s a gorgeous film, mourning the impossibility of being alive as it celebrates that which binds us, a conscious-rattling, viscera-stirring piece of art.
    • 62 Metascore
    • 64 Dom Sinacola
    It’s a pretty great blockbuster if you don’t think about it much.
    • 92 Metascore
    • 84 Dom Sinacola
    What cinematographer Joshua James Richards can do with a camera bears the weight of countless filmmakers in thrall to the pregnant possibility of this marvelous continent. Every frame of this film speaks of innumerable lives—passions and failures and tragedies and triumphs—unfolding unfathomably.
    • 89 Metascore
    • 85 Dom Sinacola
    Bewitching and masterfully rendered, Zama is an elegant, ravishing, often delightfully strange achievement.
    • 69 Metascore
    • 72 Dom Sinacola
    If the film’s direction is workmanlike and the writers’ plotting flimsy, then the better to focus on the cast. They’re a joy to watch together.
    • 82 Metascore
    • 80 Dom Sinacola
    As much as the movie is an enrapturing, sometimes overwhelming experience, filled with passion and hard work and adoration for the impossible task of making such a singular movie at all, Anderson and his animation team find the film’s soul in these dog’s eyes.
    • 88 Metascore
    • 82 Dom Sinacola
    Black Panther might be the first MCU film that could claim to most clearly be an expression of a particular director’s voice.
    • 60 Metascore
    • 79 Dom Sinacola
    Gorgeous and gross in equal measure, propelled by the sense that anything could happen, Like Me is a visual feast.

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