The Atlantic's Scores

  • Movies
  • TV
For 183 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Widows
Lowest review score: 0 Transformers: The Last Knight
Score distribution:
  1. Negative: 17 out of 183
183 movie reviews
  1. The creative journey, and the magical bond between artist and subject, are what ignite Gilliam’s passion here. Unfortunately, the themes of The Man Who Killed Don Quixote are more compelling than the set pieces themselves.
  2. A gorgeous and impossible puzzle of a movie.
  3. It’s filled with colorful characters, innovative creature design, and some of the most spectacular sets in Laika’s history.
  4. In trying to set itself apart, this film ends up perfectly laying out the case against its own existence.
  5. For all its body horrors and apocalyptic conclusions, High Life is one of Denis’s most loving and tender creations.
  6. This is the rare comic-book movie that actually seems geared toward families, mixing adolescent humor with sincere sweetness that doesn’t cloy.
  7. The most shocking thing about the film is its unabashed cheerfulness. For all Korine’s trademark provocation, The Beach Bum somehow manages to be an upbeat, triumphant tale of creativity and free-spiritedness.
  8. The film is just different enough to stick out amid the studio’s backwards-looking slate, and Burton, for the first time in years, shows he hasn’t lost his love for the idiosyncratic.
  9. Despite the grand scale, like all of Jia’s works, Ash Is Purest White leaves questions of good and evil to the viewer—this isn’t a philosophical story, but a personal one.
  10. Us
    Us is a thrill ride, a somber parable, and a potential first chapter in a vast, encyclopedic sci-fi story; talented as ever, Peele has found a way to cram all of that into a gleeful blast of a film.
  11. The script, by Joe Shrapnel and Anna Waterhouse, conveys little beyond the fact that Stephen and Rachael are both sad, nice to each other, and very attractive.
  12. Given its similarity to the original, Gloria Bell could have just been a curiosity—but the hilarious performances by Moore, Cera, and Turturro make Lelio’s return to his own material more than worth it.
  13. The 21st entry in Marvel’s galactic film empire, and the first focused on a female superhero (played by Brie Larson), is a perfectly fun time at the movies that deftly lays out the stakes of its new character for many future appearances. But more often than not, it feels a little routine.
  14. As it is, Greta is more of a Terminator movie, with everyone doing their best to get out of Huppert’s way for 98 enjoyable minutes—though that’s still worth a recommendation in my book.
  15. The Boy Who Harnessed the Wind could’ve been a conventional narrative of despair and redemption; in Ejiofor’s hands, it builds realism and context into both sides of that story and manages to be a winning adaptation as a result.
  16. Sheer force of personality is the main ingredient of any great sports movie, and Pugh has enough of it to pull the story along. But this is a star performance that deserved an equally dazzling script.
  17. The narrative thrust of The Hidden World sputters any time humans are involved. Much of the plot exists only to stall the characters until the film winds its way to a touching conclusion.
  18. It’s one thing to make fun of the repetitiveness of a second movie, but this one manages to do that while actually expanding its storytelling horizons.
  19. True to its origins, Alita is a living cartoon of a film, which only makes its ridiculousness easier to absorb.
  20. Soderbergh’s unorthodox film release and cheap, idiosyncratic shooting style are ideal fits for the director’s fascinating, speculative story about the future of the NBA.
  21. The script has a wry sense of humor but is almost never laugh-out-loud funny, and the gory substance of the plot regularly overwhelms the delicate notes of parody.
  22. This is a project that’s loaded with big ideas and worthy morals for its younger viewers, even if it has a little trouble streamlining them all into an easily digestible plot.
  23. In the end, Velvet Buzzsaw is a pretty soulless piece of art about the soullessness of art; but that doesn’t mean it can’t have a little fun proving its point.
  24. The film more than earns its commanding title: You will not want to look away.
  25. With The Big Short, McKay threaded a needle by managing to be jokey while still serious, and angry while still entertaining. With Vice, he fails in both directions.
  26. The film hums with energy anytime Merlin is on-screen, but even when it’s in the hands of its very sweet preteen ensemble, it’s a lively watch.
  27. It’s one of those projects that initially seems hokey beyond repair but quickly evolves into something genuinely unique. Serenity may not make it onto many critics’ top-10 lists come the end of 2019. But it’s certain to be one of the more unforgettable viewing experiences of the year.
  28. Fyre is primarily a journalistic exhumation of the Fyre Festival’s ridiculous excesses. But via interviews with both dissatisfied ticket-buyers and nervy ex-employees, the movie also scrapes away the sheen of the flamboyant “influencer” lifestyle that McFarland leveraged to sell tickets and hook investors.
  29. It’s a film that sometimes plays more as a rambling TED Talk than as a straightforward thriller. But, in this case, I admired Shyamalan’s overreach, even as the auteur laid meta-textual twist atop twist in the movie’s giddily loopy ending.
  30. It is not—if my description has somehow failed to make this clear—an easy film to watch. But it is a forceful and unsettling addition to the cinema of the Holocaust, a film that digs deeply into the gruesome workings of the death camps and ponders questions about duties to the living and duties to the dead.

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