Consequence of Sound's Scores

For 961 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 One Night in Miami
Lowest review score: 0 Force of Nature
Score distribution:
961 movie reviews
  1. Alone is exactly what it sells — a taut, hot-wired survival thriller. With its gaunt storytelling, meaty characters, and high-stakes action, the film delivers on all fronts.
  2. McQueen’s focus is on the community, not the individual; his focus is on the party as a whole and the optimism and community it engenders. Films about the unabashed celebration of Black joy and success are few and far between, which makes Lovers Rock all the more remarkable.
  3. Despite great direction by Mortensen, who also delivers a strong performance alongside Henriksen and (briefly) Linney, Falling is a repetitive and exhausting exercise that never gets around to unpacking why the audience should care about its ailing patriarch character. It’s too long and too one note for too little pay-off.
    • 44 Metascore
    • 33 Critic Score
    Antebellum makes every moment meaningful or teachable. And under the strain of making its many, many points, Antebellum forgets to be a good movie, which is ultimately what draws audiences in and allows them to connect the dots for themselves.
  4. Regina King’s directorial debut is a quiet and contemplative film, filled with powerful mediations on race, responsibility, and revolution that are both timely and entertaining
  5. Pieces of a Woman offers a superb performance by Vanessa Kirby, and the most unnerving opening of any film in 2020, but the familiar examination of marital disintegration struggles to sustain interest or justify its lengthy runtime.
  6. Nomadland is a gorgeous, lyrical film featuring another standout lead performance by Frances McDormand. Chloé Zhao’s latest is a testament to the beauty of the American Midwest and the value of living an unorthodox life.
  7. It’s a shame to see a movie this ambitious and well-cast turn out so wobbly, but The Devil All the Time inevitably sinks under the weight of its self-importance.
  8. It is as much a celebration of song and contemporary dance as it is a call to action about the need to embrace our humanity and connect with others. Quite simply: it’s a joy.
  9. This strange and anxious mixture of the Working Women comedies of yesteryear (think: 9 to 5, Baby Boom, and Working Girl) with the cramped hospital horror shows of our Saturday night sleepovers (recall: Visiting Hours, Halloween II, and Dream Warriors) is always compelling, always nerve-wracking, mostly funny, and agreeably gross.
    • 67 Metascore
    • 67 Critic Score
    Unlike other Disney remakes, the issue with Mulan isn’t that it hews to the formula too closely; it’s that when this movie veers away from that formula, it tries to be something approaching a Marvel movie, and that’s one crossover we still don’t need.
  10. As expected, the real flexes come from the four principal stars. Winter seamlessly slides back into his flannel as Bill, wisely dialing things down to address the years. However, Reeves dials it down too much, coming off as nearly geriatric as he shuffles around as his buddy Ted.
  11. Even two viewings in, I’m struck by the density of the work itself, its feelings on death and aging and the past shifting with every line of dialogue or idiosyncratic image.
  12. Sprawling and ambitious, flawed yet admirable, failure and success concurrently reside in every minute of Tenet. A technical feat but a narrative dud.
  13. Crass but quick, and agreeably popcorn-y, Unhinged could have gone off in far more risible fashion. Not quite a gas, but without crashing and burning entirely, Unhinged gets where it needs to go and fast.
  14. Peninsula combines components from I Am Legend, Mad Max, and the Fast & Furious series for a nonsensical joy ride that, while entertaining, lacks the sharpness of its predecessor.
  15. Skin certainly has its blemishes, but it’s occasionally excited and secure in its willingness to build an off-the-cuff alt history for an under-discussed facet of filmmaking.
    • 58 Metascore
    • 50 Critic Score
    The One and Only Ivan always “feels” like a movie without actually being compelling enough to be truly entertaining.
  16. Project Power is a hard-R action flick with a neat premise, inventively handled, and a winsome cast to coast us through the creakier bits of the screenplay. More crucially, it’s also got a sense of humor about itself.
  17. The Pool is easily one of the best single location, high concept thrillers of the year. While its social commentary on abortion feels a tad old-fashioned, the action sequences and the escalating threats make for a great time at the movies.
  18. Spree works better as a performance piece for Keery, who never eases up on the pedal. He’s legitimately haunting as Kurt, and like the best sociopaths in film, there’s a subtle guilt that comes from wanting to see what he’ll do next. Oddly enough, that feeling speaks louder than anything actually said in the film.
  19. Black Water: Abyss is a low-stakes rollercoaster arriving at a time when we’re being barred from theme parks. If you’re looking for some thrills — and maybe even a little adventure — it’ll do the trick. The drama is exhausting, but the situational horror offers a nice distraction, even if we’re admittedly tired of watching people make stupid decisions.
    • 80 Metascore
    • 67 Critic Score
    It’s tough to recommend She Dies Tomorrow given the high levels of stress and anxiety so many of us are currently experiencing. Seimetz uncannily mirrors the pervasive unease of 2020 in a way that hits a little too close to home. Full disclosure: watching triggered a near existential crisis and multi-day bad mood for this writer.
  20. An American Pickle is cute — nothing more, nothing less. It’s not laugh-out-loud funny; it’s folksy funny. This is chicken soup for the soul, arriving at a time when Americans could use a balmy parable on family and tradition.
    • 84 Metascore
    • 83 Critic Score
    It’s not difficult to lose sight of the future when you can’t properly account for the past. Beyoncé’s direction and influence looks to change the narrative and to reinforce the fact that Black Is King … and queen.
  21. Host is so clever, so creepy, and so effective. At 56 minutes, this is a lean and mean slice of horror, a fitting opening salvo for the spooky season ahead.
  22. Franco exercises so much restraint, especially during the frenetic final act, that you’re always left on edge. There’s hardly a single gratuitous shot to the entire film.
  23. At two hours, it can drag, and the mid-budget nature of the thing can leave it feeling less than ambitious. But there’s just enough inventiveness here to make it stand out in a packed field, and to cement Prince-Bythewood as a director who can handle bloodshed as adeptly as character.
    • 76 Metascore
    • 83 Critic Score
    The conclusion of Relic is haunting, beautiful, and cathartic.
  24. The Beach House won’t be for everyone. Those coming in expecting a doozy of infections and balls-to-the-wall, gross-out horror will likely leave nursing a sunburn. But if you can appreciate those moments within what’s essentially a pandemic survival story, then you’ll walk away with a nice tan.

Top Trailers