We Got This Covered's Scores

For 538 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Mountains May Depart
Lowest review score: 20 The Turning
Score distribution:
  1. Negative: 38 out of 538
538 movie reviews
  1. Yes, the movie where a girl falls in love with a Tilt-A-Whirl says more about self-assurance, romantic wilds, and personal comforts than most human-on-human counterparts.
  2. Tom Hardy does it all as Capone: growling, drooling, snot, yelling, snotty yelling. If his performance was in service of a better picture, we might even be talking about him during Oscar season.
  3. Scoob! is an enjoyable-enough start to the Hanna-Barbera cinematic universe, but may leave Mystery Inc. superfans feeling robbed of the Scooby-centric reboot that such a title suggests.
  4. The Platform is a multi-tiered assembly of tension, terror and terrible imaginings that, in cake form, would be worth centerpiece window placement in any professional pâtisserie.
  5. Bloodshot shoots to kill, but with the accuracy of a Stormtrooper - off the mark and leaving much to be desired.
  6. The Hunt puts the "F-U" in midnight "fun" as no sides are safe in this middle-finger cultural roast that's as loudly defiant as it is proudly blood-soaked.
  7. A feel good movie should make you feel...well, good. And My Spy's arsenal of laughs, smiles and carefree action connects with a sniper's precision.
  8. Leigh Whannell does a damn fine job manifesting unnerved tension and sustaining Cecilia’s downfall right in front of everyone’s eyes.
  9. Brahms: The Boy II seems to want nothing to do with its original, which is an odd and detrimental outcome for your direct continuation of Brahms' ongoing story.
  10. From start to finish, Fantasy Island is lacking wicked wonderment and poignant reboot vocality. You'd be best off skipping it.
  11. It’s an enjoyable movie-night combination of lightning quips, genuine friendship and observational humor paced with Sonic’s “gotta go fast” attitude. Score one for video game fans!
  12. Birds of Prey proves that it's no longer a man's world, it's Harley Quinn's - and we should be so lucky.
  13. Gretel & Hansel is a full course meal when it comes to cinematography and production design, but the sleepy, hollow narrative pacing is just too stogy to overcome.
  14. The Turning is a failed ghost story on almost every conceivable level with a third act that's flat-out unforgivable.
  15. Yes it's "Alien but underwater," and that's a good thing given how a top-notch Kristen Stewart leads us on a terrifying dive into the deepest reaches of aquatic horror.
  16. The Grudge feels like "just another remake," which is a shame with such a previously style-forward director at the helm.
  17. Star Wars: The Rise Of Skywalker suffers the misfortune of having a director who cares more about digging up a franchise's past than moving forward with an original story.
    • 78 Metascore
    • 60 Critic Score
    While watching 1917, there’s a sense that you’re waiting for a fresh take or an interesting point that never comes. Audiences don’t need this movie to tell them that war is hell. But for those striving to get closer to experiencing that hell, Deakins and Mendes achieve something few war films before them have. They just needed a grander reason for doing so.
  18. Black Christmas deserves to be a better slasher satire propelled by empowerment than the messy, tonally obstructed holiday dud we're gifted.
  19. While its well-founded intentions and creative intuitions are palpable, not even a tortuously acrobatic performance from Aaron Taylor-Johnson saves A Million Little Pieces from consistently sober storytelling.
  20. Doctor Sleep is a conflicted and unwieldy sequel attempting to unite worlds (King and Kubrick) while telling an original story from yet another filmmaker's viewpoint (Flanagan) that never blends together.
  21. Any misgivings bestowed upon Ford V Ferrari by the script are, more or less, eliminated by the film’s big draw: the racing. Gloriously calibrated, simply designed, and modestly edited, audiences are reminded of the dynamite, nearly natural relationship automobiles share with filmmaking.
  22. The Irishman is delicately handled by experienced, especially-inspired makers. It’s simply the kind of film that isn’t made too often anymore; and it’s one of the best this year has to offer.
  23. Terminator: Dark Fate is a good Terminator franchise entry by comparison, but still falls into many of the pitfalls that modern reboots/remakes/sequels struggle to sidestep when balancing nostalgia with hyper-CGI action.
  24. Gomez-Rejon’s The Current War is unfortunately neutralized by Mitnick’s artless script.
  25. Hustlers is intoxicating, surreal and a party you never want to end. It also helps when you have great actresses. Everyone here dances off screen and into our hearts. That goes for Lopez in particular.
  26. Dolemite Is My Name belongs to Murphy.
  27. A simple and simply satisfying seal, El Camino: A Breaking Bad Movie will, in no way, tarnish the alchemic legacy of its TV precursor, though it doesn’t do much to enhance it.
  28. Edward Norton mines political relevance in some areas of noir-drenched New York and completely ignores it in others. As a result, Motherless Brooklyn becomes Chinatown’s outshined, ugly stepbrother.
  29. Blazingly and brilliantly over the top, Jojo Rabbit’s total dismissal of subtlety is its most ferocious ally and, only occasionally, its most frustrating foe in the war against hate.

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