Consequence of Sound's Scores

For 975 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 12 Years a Slave
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
975 movie reviews
  1. 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.
  2. Save yourself from this disaster of a movie.
    • 31 Metascore
    • 16 Critic Score
    You’ll only lose 90 minutes of your life to this misbegotten mess.
  3. When the leads are drawn this terribly thin, and Onward is so hopelessly focused on the dad narrative that it can’t help but ignore its creativity in favor of mawkish afternoon special, the product stinks of a bad Amblin ripoff.
  4. Ultimately Fantasy Island’s four-for-the-price-of-one narrative and its excruciating hour-and-50-minute runtime doom it. The film is visually bland, lacks charismatic characters or interesting backstories, and long overstays its welcome with an egregiously protracted third act that feels interminable.
  5. This wasn’t a movie, it was a boardroom meeting with some poor hapless dreamer strapped to the “directed by” credit like a keelhauled sailor punished for his idealism.
  6. The mood and atmosphere is appropriately unsettling, and the stellar cast never stops trying to elevate the material, all of which makes it even more upsetting to watch as it slowly unravels and botches the landing.
  7. As an adaptation, Cats is declawed, never delving fully into the possibilities offered by its proportion-manipulating trick photography and its animated cast. As a big-budget spectacle, it’s a triumphant disaster, if one at least born from a unique idea.
    • 49 Metascore
    • 25 Critic Score
    The real horrors of campus assaults should be examined, and horror makes for a perfect vehicle for that discussion. Yet this remake’s ambitions are too lofty for its own good. The messaging forgoes finesse and grace in favor of blatant lecturing, cramming patriarchy, rape culture, toxic masculinity, and white male rage all in an unsatisfying Christmas horror package.
  8. A tonal miss and technical meh, Gemini Man arrives looking and feeling self-defeated.
  9. The film has spent so much time telegraphing its own depth that it forgets to create any, and thus when that wig arrives, we have no reason to view it as anything other than ridiculous.
  10. The film isn’t — as crazy as this sounds — a total wash.
  11. Dumb as hell, gory as can be, and reliant on the hilarious idea of Stallone traveling at the speed of sound to ambush a few dozen cartel soldiers.
  12. Like the Hollywood it tries to lampoon, in its way, The Fanatic comes across as shallow. It is, as they say in the biz, a flop.
  13. Murder Mystery is a dud, stained with slack humor and a total unwillingness to play within its own chosen genre.
  14. In an age where “so bad it’s good” has lost much of its meaning in a sea of calculated camp, The Intruder may be one of the few films of recent vintage that truly qualifies.
  15. It’s a paint-by-numbers would-be blockbuster entirely built around the delusional notion that general audiences can’t be scared by anything more thoughtful than recycled jump shocks and derivative monsters.
  16. Its lack of energy, depth, and pure volume are, at the movie’s best, sanitized. Despite the long wait, The Dirt is nothing more than karaöke Crüe.
  17. Moondog’s antics aren’t all that funny or captivating, even when divorced from their assholery.
  18. While it’s a reasonably paced thriller, The Prodigy is almost wholly devoid of real scares.
  19. Every second grates and confuses in equal measure, with nary a thrill of inventive, exciting action filmmaking to break up the monotony.
  20. IO
    IO is dull, it drags, and it’ll beg the question: When will this, all of this, be over?
  21. Shyamalan comes off so smug by the end of this movie that it’s insufferable — and also kind of jarring. It’s as if he’s learned nothing from his past and still believes he’s pulling a quick one on his audience.
  22. It’s also not all that good, even if it’s hardly the kind of “bad” that most would get riled about. Escape Room is cut from one of Hollywood’s most familiar cloths: the “mall horror” movie.
  23. When people talk about Hollywood movies feeling more and more like product, this is what they’re driving at.
  24. As with any number of popular YA novels-turned-feature films, Mortal Engines has a wealth of possibilities and curious ideas at its disposal. Instead, it tears past them in pursuit of some of the subgenre’s most exhausted narrative tropes, chewing up everything engaging as it grinds along.
  25. There’s nothing particularly memorable about Robin Hood even when you’re laughing at it, and that may be one of the saddest fates a movie can meet.
  26. If you’re going to tackle serious subject matter, maybe don’t run it through tacky fluff that amounts to a fleeting sugar high. Sure, this movie will get all the right oohs and aahs, sighs and sobs — it certainly won over the freebie test audience at my screening, good god — but it won’t linger.
  27. Hunter Killer has thrills, but they’re of the cheapest variety.
  28. Bohemian Rhapsody is another lame music biopic, and its failures ultimately lie in the poor creative choices, the gutless approaches to potentially explosive events in the life of this band. We’re not buying this new album. There’s no new material to be found in Bohemian Rhapsody.

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