Original-Cin's Scores

  • Movies
For 359 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 Marriage Story
Lowest review score: 25 Little Italy
Score distribution:
  1. Negative: 9 out of 359
359 movie reviews
  1. To put Uncorked in wine terms, it’s not complex, but only a philistine would dismiss what’s easy and pleasing as flawed.
  2. While I already miss the experience of seeing these films in a theatre, Vivarium does evoke TV precedents, most notably Twilight Zone in the cleanness of its premise and the parsing out of dark details on a need-to-know basis.
  3. It's always presumptuous to refer to a slice of history as "little known" simply because you didn't know about it, but it's probably safe to say that Crip Camp: A Disability Revolution — a rousing look at disability rights — will tell a new story to a lot of people.
  4. The lack of clear identification of interview subjects and amorphous shape of the film can be frustrating. A segment on the history of book-burning, for example, feels gratuitous but, for the record, everyone in the film is against it.
  5. While you can admire the “House of Mirrors” structure of The Whistlers and its ironic mix of glum and glamorous, there is little emotional purchase here. This is a flatter, more arch experience than Porumboiu’s devastatingly absurd earlier films, and the entire exercise feels more about ingenuity than art.
  6. Some movies deal with the settling of the American West as mythic. And then there are films like writer/director Kelly Reichardt’s First Cow, which strips it down to its basics for a more human scale and poetic vision of the Western era.
  7. Within the frame of an old-fashioned stab-and-splatter exploitation flick, The Hunt is consistently smartish.
  8. The inexorable pace of this marital disintegration is masterfully dictated by its leads, Nighy (whose granite expression remains fairly unchanged whether unhappy with Grace or newly-alive with his new love) and Bening (without whose energy there would be no movie).
  9. The mostly non-professional cast do a credible job of depicting a family growing progressively more anxious under increasing pressure.
  10. It means well, but Greed fails to locate the heart of the fast-fashion calamity, instead spotlighting the grotesqueness of the one percent at the expense of everyone else.
  11. Let it be known that The Way Back – in which Ben Affleck plays a drunk who once walked away from basketball glory and is offered a chance at redemption when his old coach has a heart attack – is possibly the most melancholy sports movie ever made.
  12. Despite evoking a lot of previous pop-cultural touchstones (including Harry Potter, Shrek and even Weekend at Bernie’s), the nerd-minded, fast-moving Onward has wit, eye-catching anachronisms and imaginative actio
  13. As much a showcase for Kristen Stewart and the fabulous frocks of the 1960s as a glimpse at a very low moment in U.S. governmental history, Seberg is an entertaining if simplistic drama that would have benefited from more grit and less gloss.
  14. Beanpole makes you feel its two-hour-plus running time, with drawn-out scenes full of off-centre framing and claustrophobic close-ups, but there’s an exhilaration in the audacity of the filmmaking, as the boldness of its portrayal of the survival drive.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. A compact drama with outsize emotional heft, The Assistant is propelled as much by what it doesn’t show as what it does.
  21. A solid, if not revelatory portrait of contemporary Russia through the story of exiled oligarch Mikhail Khodorkovsky.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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.

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