Original-Cin's Scores

  • Movies
For 576 reviews, this publication has graded:
  • 71% higher than the average critic
  • 3% same as the average critic
  • 26% lower than the average critic
On average, this publication grades 8.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 A Beautiful Day in the Neighborhood
Lowest review score: 25 Night School
Score distribution:
  1. Negative: 11 out of 576
576 movie reviews
  1. Despite the film's willingness to playfully stir unrest, it never reaches its full potential, and the promise of confronting abusers who hide behind avatars gets second billing to a less exciting defense of free speech. And yet, The Columnist works because of Katja Herbers’ performance.
  2. Duty Free spends little time exploring the ageism that’s at the heart of Danigelis’ employment difficulties. There’s a quick mention at the end of the doc that 25 million Americans don’t have enough money to pay for retirement, but no exploration of the how and why. It would have made for a more satisfying film had Regis gotten beyond the road-trip selfies.
  3. Bolivia’s 2019 Oscar submission for best international picture, adapted by writer-director Rodrigo Bellott, the film floats freely through different chronologies, creating a level of intellectual play that prevents the drama from sliding into earnest messaging.
  4. Possibly, Eat Wheaties! will age well, but at this point, there’s more cringe than comedy here. The character of Sid isn’t just endearingly awkward or amusingly fatuous, like Steve Carell’s Michael Scott in The Office. He’s just thickly insensitive.
  5. Despite a brief reprieve with films like Mandy (2018) and Color Out of Space (2019), both of which successfully harness Cage's outlier approach, he makes a swift and disappointing dip back onto Hollywood's B-list here.
  6. This story about stories is best absorbed if you’re not in a hurry. The Oak Room is not long (88 minutes), but the words demand attention.
  7. Mostly, this is a look at how solid actors can carry a nuts-and-bolts, dramatically undemanding action film. Jordan is physically imposing, and handles the action choreography with style.
  8. Colourful and crazy paced road trip animation, The Mitchells vs. The Machines is the goofy-smart and entertaining family fare we’ve been needing in these fun-challenged times.
  9. Rodgers has created familiar and relatable characters despite dialogue that occasionally slips into melodrama.
  10. The surprisingly conventional Tiny Tim – King For A Day mixes archival photos and film, and animation, to present an image of the man before and after he hit the pinnacle of pop culture by getting married to first wife Miss Vicki live on The Tonight Show.
  11. Visually drab, tonally flat, and with precious few sympathetic or relatable characters, Brothers by Blood reduces the high-minded concept of filial loyalty across multiple generations to a paint-by-numbers power play.
  12. Sure, we’ve seen variations on this story and theme before but few better.
  13. No doubt Henrik Kauffmann (Ulrich Thomsen), the Danish ambassador to the United States during Nazi-occupied Denmark, was good. But The Good Traitor, the pseudo-docudrama depicting his life is sadly not.
  14. The Violent Heart lies somewhere between a chasm that divides soft-peddled melodrama and Young Adult fiction. It's unlikely director/writer Kerem Sanga intended the story to be categorized as either melodramatic or Young Adult.
  15. Casting Leachman as Margaret and remarkable newcomer Thomas Duplessie as budding drag queen grandkid Russell propels Jump, Darling into the winner’s circle. Connell further comes through with a solid script sprinkled with often-delightful dialogue.
  16. 3 ½ Minutes, 10 Bullets, as well as being a compelling real-life courtroom drama, offers some clarity about race and injustice in the pre-Trump era.
  17. Nomadland is a beautiful and affecting film: a small scale, spare movie with a deep well of compassion at its center.
  18. Beyond the premise though, Held is pretty much stale ginger ale, not fresh, no fizz, thinly acted and tepidly paced. While it’s passably interesting, watching co-directors Travis Cluff and Chris Lofing (The Gallows) explore the antiseptic house as if watching a a real estate video, the accompanying thin drama drifts into episodic genre violence and doubtful logic.
  19. As it is, Embryo is a routine alien abduction story repackaged as an experimental film.
  20. For everything Senior Moment gets right, there seems to be an equal and corresponding wrong which mars the film and the efforts of its clearly committed cast under the helm of action director Giorgio Serafini.
  21. Bosnian director Jasmila Žbanić succeeds where many filmmakers fail in conveying the dimensions of a mass atrocity in a film that matches clear-eyed personal experience to history in a lightly fictionalized story.
  22. Sugar Daddy impresses as an idiosyncratic film with a forceful visual style and sound design, attached to a familiar story about the ways of bad men and a young woman getting lost in the fast life.
  23. I struggle to find the point in this exercise, although I know one exists. I think it might have something to do with the breakdown of privilege and the importance of opening up to other equally unfortunate rich people.
  24. As a valentine to influential 80s alt-rockers The Smiths, Shoplifters of the World is unbeatable, propelled by original Smiths music along with archival footage of band interviews and performances, vintage posters, magazine covers, album sleeves and just about every other bit of era-specific ephemera you can name.
  25. The Marksman is a minor entry in the Liam Neeson Action Oeuvre, but it's unlikely to boost his genre status. Neeson puts in a valiant effort to give Hanson the edge of a man grown weary, not just by time but by the assumptions of his age and the disappointing belief that his country has let him down.
  26. While stopping short of camp, and giving the movie all the visual aplomb it deserves, Godzilla vs. Kong isn’t ashamed of being light entertainment writ large. The dramatics are few, the quips just about right, and the booms are bombastic.
  27. Six Minutes to Midnight shifts focus between classroom drama and war thriller without allowing time for either genre to take shape.
  28. Seligman’s tight script landed her on Variety’s list of 10 Screenwriters to Watch for 2020. She uses classic Jewish humour and archetypal characters here that echo 1960s comedy albums and TV sitcoms but freshens it with Generation Z angst and a cascade of emotional pileups.
  29. Regardless of how derivative Nobody is of films both better—John Wick—and movies a whole lot better—A History of Violence—hardcore action fans will find Nobody hard to resist.
  30. SLAXX is tailor-made for anyone who has ever felt concerned for the mental state of the clothes they discard on the floor. For the rest of us who can abandon our wardrobe with no regard to its psychological well-being, SLAXX is a straight-off-the-rack farce.

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