The Film Stage's Scores

  • Movies
For 2,251 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 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 12 Years a Slave
Lowest review score: 0 The Hustle
Score distribution:
2251 movie reviews
  1. Despite an under-developed script, Wolfhard and Moore both deliver strong performances as their characters continue their parallel tracks, with narcissism blocking the desire to achieve their true goals and neither truly listening to the person they want to make happy.
  2. Despite highlighting some chaotic encounters, Williams isn’t interested in explosions and one-dimensional, hell-bent villains. His focus remains on the way years of criminalization can impact decision-making and friendships, and, as his last shot suggests, how distinct sounds can traumatize even as they’re meant to help.
  3. Memory Box is at its strongest in its first half, when Alex steals objects from the box that she’s been forbidden to look at, and her imaginings about her mother’s youth are visualized on screen through mixed media animation.
  4. While the structure is fairly standard and its overall aesthetic sometimes appears limited by scope, The Laureate is a solid, heady account of a particularly tumultuous time in the life of poet Robert Graves.
  5. Definition Please‘s strength is its authenticity and normalization of minorities away from blatant stereotypes. It acknowledges the struggles endured with honesty and humor in ways that are as relatable as they are unique.
  6. Scream is not a bad movie. It is, however, a case of mediocrity being the worst sin. For a franchise all about coping with a media landscape that begets disillusionment to produce something just like this, it especially hurts.
  7. Director Terence Krey and Nyland (who co-writes as well as stars) have crafted a horror film under the name of the aforementioned song An Unquiet Grave, so a return to happiness will inevitably be short-lived if it even arrives.
    • 68 Metascore
    • 83 Critic Score
    The Pink Cloud suffocatingly explores what it means to live in a world that no longer exists beyond what we artificially create for ourselves, the consequences of extended loneliness, and the capabilities of human adaptation.
  8. It’s frustrating when a film provides us with an original character and an engaging first act while following so predictably in the shoes of other home invasion and defense thrillers.
  9. Kruger and Nyong’o elevate the material to a level it probably doesn’t deserve with Chastain and Cruz following closely behind.
  10. A film such as this lives and dies by its leads, and both are wonderful on-screen together, creating a realistic love story that works well as they navigate the situation they both find themselves in.
  11. All that flare and stealthy humor give the familiar sense of a young director attempting to flex every creative muscle at once. Seldom is this advised, yet it’s nothing if not thrilling to watch.
  12. Clint Bentley’s Jockey sources its strength from its casting. Led by a career-best Clifton Collins Jr. and supported by more-than-solid performances from Molly Parker and Moisés Arias, the film leans on these three actors to tell a tried-and-true story.
  13. Though less a take-it-or-leave-it gauntlet-toss than Lana Wachowski’s more boldly experimental work, the virtues of her fourth Matrix are often in excess of anything she’s made since the polarizing-but-great sequels, sometimes in contradiction to the matter of us even watching it—a work about the fact that it almost should not exist.
  14. This is a movie engineered to resemble a thrill ride, a greatest-hits carousel powered by fan service and corporate recycling. It practically embraces Marty’s designation—and that’s OK. Despite their noted limitations, theme parks like this still offer plenty of fun.
  15. If it bears the fault of preaching to the choir’s anger more than offering real structural critique, one has to begrudgingly admire some qualities of his newest film, even as being annoyed for a good portion of the runtime is still expected.
    • 60 Metascore
    • 25 Critic Score
    There’s no panache, no cinematic sensibility at all to make this come off the page and excite the viewer. As his script struggles to keep things on their feet, the complete absence of personality in Sorkin’s direction sinks Being the Ricardos to the point of no return.
  16. By the time the climax with a big CGI beastie arrives and basically ends before it begins, the slightly unsatisfying feelings of Raccoon City become cemented.
  17. When the very ground on which people live becomes uncertain, the necessity of passion—in love, in combat—becomes all the more apparent, and Spielberg’s fidelity to that sentiment, and to his own decisions, bears the vitality of this alternate take aloft.
  18. Well-constructed if not repetitive in certain passages, Lady Buds is an engaging and comprehensive look at the many dimensions of legalization, striking a friendly, conversational tone as it provides a deep dive into the supply chain, marketing, distribution and ultimately the bind the industry finds itself in as the drug is still considered at a federal level a controlled substance.
  19. Hoffman and Haim are quite natural and relaxed in the way they carry themselves, the former filled with an awkward confidence and the latter a forthright radiance, and by film’s close it is apparent their roads are inextricably intertwined, no matter the obstacles life throws their way.
  20. Despite the reasons House of Gucci doesn’t work, none are damning enough to make a bad movie. It’s forgettable, sometimes playing like the sort of cable-TV fare that displaced these tales from the silver screen over the past decade. Yet Scott’s efforts, and especially those of Johnson and Bentivegna, just don’t keep up. And what’s the point of going big if you’re not going to go for it all?
  21. Watching Matthew Heineman’s documentary The First Wave isn’t therefore a casualty of diminishing returns due to a false sense of redundancy. If anything, it proves more powerful from accumulation.
  22. So Late So Soon proves a warts-and-all expression of love, companionship, and the struggles intrinsic to the proximity inherent in both and how age makes everything harder.
  23. Smith has found a character whose egocentricity and dynamic range matches his own itchy movie star persona.
  24. Not all choices that Williams and Jones make pay off—including a late-act decision to explicitly spell out the reasons Cadi is seeking revenge—but The Feast is a compelling addition to the burgeoning genre of eco-horror, one of the more gruesome, nasty films in recent memory.
  25. Faison’s performance in the role is not one to be forgotten either. He’s playing a man with obvious psychological trauma, but never in a cartoonish way. There’s a brilliant authenticity to how he shifts his vocals depending on who he is talking to too.
  26. The pace is never stagnant and the final moments are pointedly effective. Ultimately, The Real Charlie Chaplin is an imperfect film about an imperfect filmmaker.
  27. It’s hard not to see the film as one of the worst results of our infantilized culture.
  28. Garfield is funny and charismatic to draw us in and devastating when presenting the palpable shame that keeps us caring. Broadway cameos aside (some even get to sing during the biggest set-piece of the whole on “Sunday”), however, Garfield can’t carry the full weight of the story alone.

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