We Got This Covered's Scores

For 694 reviews, this publication has graded:
  • 58% higher than the average critic
  • 3% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Parasite
Lowest review score: 20 Max Steel
Score distribution:
  1. Negative: 46 out of 694
694 movie reviews
    • 50 Metascore
    • 70 Critic Score
    Despite its shortcomings, 'Meet Cute' takes viewers on a journey through the harsh reality of relationships that they won't soon forget.
  1. In hindsight, irrespective of the solid performances from Cuthbert as Andrea and the headliner, this film suffers from an overabundance of ideas. Leading in short order to a stylistically slick but confusingly over-packed genre mash up.
    • 50 Metascore
    • 30 Critic Score
    Keeping in mind that the mantra of Clerks III is to live your life with the knowledge that it is precious, don’t waste it watching Clerks III.
    • 43 Metascore
    • 60 Critic Score
    With gripping performances from the Crovetti brothers to keep us intrigued enough to keep us watching until the end, Goodnight Mommy still manages to unmask some thrills — even if the strength of its source material ties it down.
    • 54 Metascore
    • 40 Critic Score
    Ultimately, Blonde falls short of the noble goals it sets out for itself. What we get instead is a stunning, surreal nightmare that fails to let Marilyn Monroe be a complicated, full person. Even if it’s packaged well, what you’ll find at the heart of Blonde is something acrid and hollow.
    • 62 Metascore
    • 100 Critic Score
    Everything from the acting to the camerawork and the imposing score makes Fall a memorable mark in transcending fiction, making our greatest fears come to life.
  2. If you’re not a big fan of whodunnits, potboilers, or period pieces, then See How They Run isn’t exactly going to convert you. However, if you get on the same wavelength as a deliberately oxymoronic slice of escapism that melds the modern with the classic, the self-aware with the archetypal, and the subtle with the overindulgent, then there’s a distinct possibility you’ll end up with a smile plastered across your face when the lights come up.
    • 73 Metascore
    • 90 Critic Score
    The larger-than-life feelings Pearl experiences are brought to life around her through the technicolor-inspired cinematography and shot composition, making for a beautiful, sometimes moving, and delightfully unhinged journey.
  3. House of Darkness leaves audiences with much to consider as the credits roll and blood red titles draw a discreet veil over this contemporary Gothic offering.
    • 39 Metascore
    • 70 Critic Score
    Where 'Pinocchio' slips up in selling its magical illusion, it makes up for in honest fun and a surprising self-awareness.
  4. Medieval works best when it throws dirt, mud, blood, and body parts at the screen, with the crunching battle scenes just about overcoming the narrative shortcomings.
  5. Burial leans too heavily on genre convention without adding anything fresh. For that reason, any decent performances which are happening on screen fail to rescue it from mediocrity.
  6. The Invitation aims high, and while it's regularly impressive on a visual and aesthetic level, the storytelling lets the Gothic horror down in the end.
  7. Me Time has plenty of talent and a potentially interesting hook, but it's quickly drowned in a sea of comic mediocrity.
  8. Samaritan had the potential to stand out among a crowded pack with Sylvester Stallone as a veteran superhero drawn out of retirement, but it doesn't bring anything new or noteworthy to the table.
    • 54 Metascore
    • 70 Critic Score
    Plenty of blood splatter brutality throughout Orphan: First Kill will satisfy gore hounds looking for their next fix. Bell, who previously directed the similarly themed The Boy and grizzly werewolf film Wer, proves to be a deft hand at creating tension without resorting to cheap jump scares.
  9. There is something undeniably romantic about film noir that that makes Neil LaBute’s Out Of The Blue one of his most alluring cinematic concoctions to date.
  10. The effort put forth by James, Tomei, Hauser, and Fimmel just about carries Delia’s Gone over the finish line, which offsets the overall lack of a laser-focused singular method of storytelling that would have improved things exponentially.
  11. This disappointing rite-of-passage teen angst hybrid is hard work. If not for the presence of Cameron Douglas and Edouard Philipponnat, 'The Runner' would be of little interest to anyone. Thankfully, they do their best to make this at least worth a look.
  12. Day Shift just about gets by on its impressive action sequences, but everything else about the vampire horror comedy feels more than a little lacking.
  13. Secret Headquarters is aimed squarely at young adults, takes a leaf from the 'Spy Kids' franchise, and is never less than engaging when affectionately leaning into genre cliches without trying too hard.
    • 71 Metascore
    • 80 Critic Score
    Prey is a fresh, original, and exciting entry into a franchise that was in desperate need of new life.
    • 69 Metascore
    • 70 Critic Score
    There is plenty to love about Bodies Bodies Bodies, even if it could’ve sharpened its satirical knives a bit more. Overall, it’s a fun, darkly humorous watch that’s worth checking out if you’re looking for something fresh to satisfy your appetite for horror and humor in equal measure.
  14. When Bullet Train sings it’s often a blackly hilarious and knowingly absurd slice of demented action goodness. When it doesn’t work, self-indulgence begins to creep in, almost as if the creative team deliberately set out to make something that would be fondly remembered as a cult favorite in the years to come, but that’s a sentiment that can only be earned, not cultivated.
  15. Ultimately, The Honor Society feels like a small-scale charm offensive featuring some genuinely engaging characters. If the worst thing audiences can say is that it feels derivative and shows too much love for John Hughes, then so be it. In the end, there may be few surprises on offer in this teen dramedy, but it is still guaranteed to make you smile.
    • 77 Metascore
    • 90 Critic Score
    Jordan Peele mixes and matches elements taken from big blockbusters and obscure subgenres alike to create a heart-racing nightmare that rains abominable filth down on its audience.
    • 46 Metascore
    • 50 Critic Score
    They/Them offers an interesting vision of what greater, specific LGBTQIA+ representation and storytelling can bring to a slasher, even if it doesn’t land perfectly.
  16. Writer and director Quinn Shephard's Not Okay takes thing near to the knuckle, but the biting jet-black comedy never loses sight of its intentions, deftly balancing humor and bile with heart and hard-hitting themes.
  17. The Gray Man delivers on its promise of spectacular globetrotting action escapism, but there's a noticeable spark missing that could have elevated it above formula and into greatness.
  18. Billed as a lockdown love story, Alone Together is more than the sum of those parts. Offering writer director Katie Holmes a perfect platform to deliver, something intimately personal with political undertones. Substance and subtlety with this subject matter is rare, so give this some attention.

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