Original-Cin's Scores

  • Movies
For 363 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 8.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Once Upon a Time ... in Hollywood
Lowest review score: 25 Tag
Score distribution:
  1. Negative: 9 out of 363
363 movie reviews
  1. Clocking in at a brisk 88 minutes, Coffee & Kareem doesn't provide much comic relief, though it is a relief when it's over.
  2. If you have trepidation about the juxtaposition of “Holocaust orphans” against “mime,” be assured they’re justified. Venezuelan writer-director Jonathan Jakubowicz’s wartime thriller is so ambitiously misjudged, it holds a bizarre fascination.
  3. Self-assured kid actor Coleman and the always-funny Schaal give My Spy some personality, but can we please retire this worn-out idea?
  4. It would be swell if there was a way of describing Bloodshot that unscrambled its plot while making it sound staggeringly cool but… well, we can’t all be superheroes. Neat effects though, which maybe are the most important thing in a sci-fi actioner?
  5. I’m not sure why director Ricky Tollman would take a real story that practically writes itself and write something else. It’s hard to follow what he’s trying to say with Run This Town, but it’s said awkwardly, without much regard to reality. The cast are all engaging and terrifically talented. But the story they’re given is a narrative straitjacket that even the best actors couldn’t save.
  6. It’s not so much whether The Jesus Rolls fails. It does, but how much it fails depends on how amped up your expectations are going into the movie.
  7. 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.
  8. 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.
  9. What starts out as a promising comic thriller deflates quickly as it becomes clear we’re just here for the gore.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. Sadly, despite the film’s gallant efforts, I am forced to join the ranks of the naysayers. In the end, I did find that the CGI effects were as creepy as they are impressive, and there were more failed numbers than there were successful ones.
  17. Overblown, outrageous, exceedingly (at times giddily) violent and visually exhausting — does any of this sounds familiar? — the film is, to borrow a hackneyed phrase which somehow seems appropriate in this context, all sizzle and no steak.
  18. Jumanji: The Next Level is a diverting disappointment that does something I don’t think I’ve seen a film do before: It’s an unnecessary two-hour film that struggles for the first 90 minutes, only to find itself in the last 30. But I suppose that’s what we should expect from a film where unexpected inversion is its strongest ploy.
  19. Banks is good at handling the action sequences; they are genuinely fun and well-executed, and Stewart gives the movie one of its better performances as Sabina, the unfiltered, bad-ass Angel. Sadly, Scotts’ turn as Elena, the adorable, somewhat blundering Angel is less affective, edging close to annoying.
  20. There’s a lot of dubious explaining in the last act, a sure sign that a movie hasn’t done a very good job explaining itself.
  21. A preposterous mess of romance-with-secrets, generations-old closet skeletons and revenge, The Good Liar is the kind of fragrant dramatic cheese that Sidney Sheldon would have squeezed an ‘80s network mini-series out of. But the never-before-paired screen couple of Ian McKellen and Helen Mirren consume this cheese like so much scenery. There’s nothing like actors with gravitas slumming, all bemused smiles and droll delivery, even as the material descends clunkily into unintentional comedy.
  22. The result is a work stiff with pointed talk and chance encounters, little of which feels original. The acting, while variable, often has a stilted, recitative quality, as if the characters, rather than family members, recently met at a script readings.
  23. In some reality where it came without baggage – and where it didn’t have to be a bloated two-and-a-half hours to accommodate its relationship to a classic – Doctor Sleep could stand on its own as a decently stylish popcorn thriller.
  24. Norwegian director Joachim Rønning (who co-directed Pirates of the Caribbean: Dead Men Tell No Tales) offers nothing unexpected here, in what amounts to a complicated exercise in paint-by-numbers movie-making.
  25. A conceptual mess if a somewhat engaging one.
  26. As the movie flips through familiar Bourne/Bond tropes, the dialogue by David Benioff, Billy Ray, and Darren Lemke, feels clichéd to the point of parody, with lines like “It’s like The Hindenburg crashed into The Titanic!” Or, “I think I know why he’s as good as you. He is you!” Only, let’s be honest, not as good.
  27. This is one of those animated features that veers way towards adult references for the parents in the room, while creating occasional mayhem in the pursuit of short-attention-span theatre. The latter fails.
  28. For the fans, Us + Them offers a meticulously constructed concert experience for a fraction of the price of a live ticket and a chance to join a chorus in yelling back at the TV. For the casually curious, be forewarned: While Waters still burns with righteous zeal, at an often repetitious 135 minutes, the film will leave your backside feeling uncomfortably numb.
  29. Tyrnauer’s film doesn’t seem to trust its material enough to allow the power of the stories to unfold without a constant hammering of a B-level-journalism music soundtrack — the kind best-suited for tabloid news programs. And the film’s unwavering criticism of Cohn (however warranted it might be) reduces an otherwise gripping biographical story into a sensationalized television-ready expose.
  30. For all its hallowed movie references, and despite the pride Zeroville takes in its weirdness, it just might be a movie too strange for its good.

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