Consequence of Sound's Scores

For 620 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Phantom Thread
Lowest review score: 0 31
Score distribution:
  1. Negative: 86 out of 620
620 movie reviews
  1. Though Life Itself is neither good nor “so bad it’s good,” it’s also such a bizarre, inexplicable film that it’s almost worth seeking out just to experience it for yourself. For those who want to watch a worthwhile family melodrama, however, just stick with This Is Us.
  2. If Peppermint has one thing going for it, and it’s by and large the only one, it’s Garner.
  3. It’s about as effective as a Walgreens Halloween display, where any terror derives from uninspiring shock value, and given that each and every pop-up scare can be seen from over a mile away, the movie fails in that respect, too. It’s exhausting even.
  4. It becomes clear all too quickly that “puppets say swears” is all the film has to offer, so it’s a slog to sit through the remaining seventy minutes of that same joke, repeated ad nauseam.
  5. A perversely fascinating mess from start to finish, Mile 22 is Berg’s most baffling attempt yet to make art out of the most virulent post-9/11 fears about terrorism and international espionage.
  6. The first major problem with Slender Man is that it’s not anywhere near as scary as many of the fan-made mockups that can be found online right now, but the second and arguably bigger one is that it’s barely a Slender Man story.
  7. While the script is fundamentally flawed, the direction doesn’t help. Young, who previously helmed the brutal 2016 indie Hounds of Love, feels out of his element in the sci-fi action realm.
  8. This film is all easy beats, predictive familiarities, and absolutely zero heart, soul, or silliness anywhere to be found.
  9. The action scenes are tense and well-staged, and the performances are staggeringly effective. On a technical level, it’s a notable work of formal craftsmanship. But to what end?
  10. When the film isn’t simply boring, it becomes unintentionally hilarious in its occasionally inept production.
  11. A smarter film would’ve more deeply explored the interpersonal dynamics between these four very different lifelong friends, but Book Club presents its central quartet as a blandly supportive girl group and mines drama from their far less interesting individual romantic storylines instead.
  12. The only subtlety to be found is in the performance of singer and actress Charlotte Gainsbourg, though it’s her co-star, Jim Carrey, who will be the subject of most of this strange, ugly film’s discussion. And why not? It’s a bizarre, fascinating turn for Carrey.
  13. Drawing from a host of late-nineties influences but doing nothing with them, Terminal is little more than a shallow exercise in dated crime movie pastiche.
  14. Unfortunately, the good stuff comes not only too late, but is more or less undone by a head-scratcher of an ending.
  15. It’s the worst kind of ridiculous: not enough so to be memorably fun, but far too much so to be taken with any degree of gravitas.
  16. That the film never fully gets to the heart of its savage commentaries is probably its greatest disappointment.
  17. Unfortunately, Game Over, Man! sacrifices all the brusque cleverness of their hit show for a warmed-over Die Hard parody that’s too self-indulgent to entertain anyone but the four goofballs who made it.
  18. Uprising plods around like the giant robots that occupy so much of its space, moving too quickly to let almost anything resonate emotionally, but not quickly enough to lend much of an adrenaline rush.
  19. It’s clichéd, distant, afraid to truly immerse itself in anything but long looks, but at least it looks good. And that’s that.
  20. There’s something distinctly odious about a storyteller exploiting both a city’s tragic reality and a country’s debate about firearms to make a film that thrives on violence.
  21. Mute has gobs of style to burn, but it’s virtually the textbook definition of sound and fury signifying nothing.
  22. The 15:17 to Paris is too unfocused, too hard to take seriously, and too short to really get invested in it. It’s an Eastwood misfire.
  23. Give or take one excellent joke about the practical applications of handcuffs — delivered with expert awkwardness by Dakota Johnson, who remains the only moderately charming element of the trilogy — the film is as devoid of wit as it is of subtlety, and that combined absence, courtesy of screenwriter Niall Leonard, leads to some of its biggest unintentional laughs.
  24. Humor Me is essentially the feature film adaption of writer-director Sam Hoffman‘s web series Old Jews Telling Jokes, and much like ideas that are typically created for a web series, the execution of the material appears to be just a bit too lacking to serve the purpose of a full-length film.
  25. It’s the kind of film that sets up a compelling sandbox in which to play, and then smashes gracelessly through it, cackling all the while.
  26. By now, you likely already know whether or not Jigsaw is for you. The series is nothing if not consistent, but the diminishing returns that led to its near-decade hiatus only continue here.
  27. Geostorm finds itself in the curious position of simultaneously taking itself too seriously and not enough so. It’s a disaster movie far too ridiculous to generate any real gravitas, but it’s also just glum enough to suck any fun out of watching the beaches of Rio de Janeiro freeze over in an instant.
  28. The end result is a finished product which smacks of Universal optioning a hot Scandi novel, losing enthusiasm for it during development and production, and leaving audiences with the remaining carrots and coal.
  29. It’s insulting. Unfunny. Blunt. It’ll leave a hell of a bitter taste in the mouths of general audiences and horror nuts alike.
  30. American Assassin never transcends the exploitation at its core.

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