Original-Cin's Scores

  • Movies
For 341 reviews, this publication has graded:
  • 70% higher than the average critic
  • 2% same as the average critic
  • 28% 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 The Lighthouse
Lowest review score: 25 47 Meters Down: Uncaged
Score distribution:
  1. Negative: 9 out of 341
341 movie reviews
  1. It’s a rare thing to see a movie about failure that a) is plays like a gentle rom com, and b) is not about utter neurosis. But Standing Up, Falling Down is a small sweet, slightly flawed movie that is both of those things.
  2. There’s enough of Austen’s generous social vision and her character-revealing dialogue to make this watchable but Emma. takes a long time to connect emotionally.
  3. Middleton plays Abby with a pleasing note of vulnerability that is often supplanted by a nagging anticipation she’ll tip off the edge. She and Gross have smooth chemistry as estranged sisters.
  4. The Call of the Wild is aiming to be an old-fashioned adventure movie for family viewing, and it delivers the requisite big warm cinematic hug. And more than being the story of a dog finding his inner wolf and fulfilling his destiny, it’s also an homage to the natural world. And that, wrapped in the adventures of a dog, is a pretty wonderful thing.
  5. Suffice to say, this is all getting explained when scary things could actually be happening. My “FUN-tasy” throughout was that the credits would roll.
  6. This isn’t a film that suddenly bursts out at you. Sciamma, like her characters, works by restraining everything. She doesn’t rush the story or focus on a building sense of hunger or passion. The title notwithstanding, the movie is a slow burn, not a fire.
  7. Rabid is a suitable entry into the science-fiction/horror genre that occasionally slants towards the promise of offering something more. And while the film’s science-fiction/horror elements don’t disappoint, the promise of something more doesn’t quite pull through.
  8. A compact drama with outsize emotional heft, The Assistant is propelled as much by what it doesn’t show as what it does.
  9. A solid, if not revelatory portrait of contemporary Russia through the story of exiled oligarch Mikhail Khodorkovsky.
  10. The Traitor is a pleasure to watch. Working with cinematographer Vladan Radovic, Bellocchio blends sweeping camera work and flurries of action with painterly lighting and often ironic musical cues. The story itself is somewhat over-stuffed — the time-jumping narrative (Bellochio and three other writers are credited) and an onscreen counter of murder victims — but this is still a welcome chance to see a great old school European auteur at work.
  11. This is not art, it’s not brooding, it doesn’t offer any relevant commentary, it’s not even a refreshingly feminist take on an overtly masculine saturated movie-industry. It’s a loud, sometimes disjointed, mildly convoluted, ultra-violent comic-book adventure that moves at a break-neck speed. And, if you stick with it, it’s loads of fun.
  12. What starts out as a promising comic thriller deflates quickly as it becomes clear we’re just here for the gore.
  13. At an hour and a half, Gretel and Hansel shouldn’t be a slog. But at a certain point in the last act, it definitely labours for its chills - and all that feasting eventually leaves the audience more hungry than scared.
  14. We’re gripped by the tension of Greene’s tautly calibrated performance, as a mother performing a daily high-wire act, trying to keep her family together and her children from harm.
  15. The Rhythm Section is especially disappointing given its strong cast in front of and behind the scenes and its obvious ambition to rise above a paint-by-numbers action film with a somewhat relatable protagonist.
  16. The movie looks pretty good, given that it’s small budget effort, and it achieves a sense of tension. But beyond that, the result is frustrating.
  17. The Last Full Measure stands as a fascinating document of how truly messed up every aspect of the Vietnam War was. It’s also a touching if occasionally syrupy rumination on the nature and provenance of valor.
  18. The film improves in the dramatic final reel, as Quezon struggles to complete his task while facing the heartbreaking task of cutting the refugee list after pushback on visas, refugee quota increases and exit permits.
  19. The subject alone should ensure that it gets lots of attention from film reviewers and despite a jumpy, hodge-podge style, should be generally enjoyable to anyone interested in the seductive, contentious cultural phenomenon of The New Yorker’s famous critic.
  20. Les Miserables is an intense ride, a gripping action-filled police procedural that leaves you with grappling with social issues and youth when the movie ends.
  21. Reservations aside, Clemency has moments of shivering gravity. Almost all of them involve complex emotions registered in Woodard’s extraordinary face, her dignified resistance to a turmoil of emotions within her, and her agonized need for forgiveness.
  22. Ritchie is looking back to the Lock, Stock and Two Smoking Barrels and RocknRolla roots as if nothing has changed since. The Gentlemen is simply those movies with extra everything except inspiration. And sometimes more is less.
  23. There are scenes of explosions, gangland killings, car chases, and more explosions. Still, the film strives to be more than just a mesh of Bay-inspired blow-ups and easy to reach jokes.
  24. A family movie with lots of CGI-talking animals and star Robert Downey Jr. hiding his charisma, Dolittle is a tiresomely chaotic concoction.
  25. The film is kinetic and elliptical, with clips from different eras juxtaposed in panels, moving back to a single frame of dancers’ feet, or artfully posed in instants of euphoria. This is a film that makes you want to absorb the language of dance or, at least, immerse yourself in more Merce, which makes this an exemplary introduction to a major twentieth century artist.
  26. Apart from the overall endorsement of women’s friendships — and the credible warmth between the two likeable stars — the script’s feminist message is hopelessly muddled.
  27. A dull piece of off-season horror flotsam, Underwater suffers from two kinds of genetic drift. It is the umpteenth movie about messing with the ocean bottom (DeepStar Six, Leviathan, The Meg, etc.), where, apparently, there be dragons rather than blind albino shrimp...It is also the latest, and most blatant, of God-knows-how-many Alien rip-offs that have taken up space in the multiplex in one critic’s lifetime.
  28. The project is a unique social experiment which we can all participate in, in a way, dipping back in time to connect with old acquaintances and, inevitably, measuring our own ups and downs in the interval.
  29. Bombshell is recommended; it’s a fun watch, often surprisingly funny, and snappily directed by Jay Roach (Trumbo, Dinner for Schmucks). Plus, it’s always entertaining to see actors summon well-known real people in a persuasive way. But given what it is and the climate it’s arriving into, it could have been so much more.
  30. Terrence Malick’s latest, A Hidden Life, is one of the year’s most ambitious films and an arguable masterpiece, though, admittedly, your receptivity to it depends on your capacity to experience three solemn hours of waving fields of wheat, theology and Nazi cruelty. c

Top Trailers