Philadelphia Daily News' Scores

  • Movies
  • TV
For 310 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Lady Bird
Lowest review score: 25 The Snowman
Score distribution:
  1. Negative: 17 out of 310
310 movie reviews
  1. Chemistry among the women is smooth, maybe excessively so. In movies about hustlers and confidence games, there is usually the scent of underlying treachery, the possibility of dishonor among thieves. In The Sting, for instance, we wonder: Is Redford conning Newman? Is the movie conning us? That kind of tension is missing here.
  2. Writer-director Ari Aster excels at making these old-school horror movie moves (he gets great mileage out of seance scenes), and the intensifying atmosphere of dread is thick. And he layers on effective, original ideas.
  3. A spare, meticulously crafted movie.
  4. It’s a funny concept, helped by Marshall-Green’s blended look of pleasure and consternation at being the vessel for an invincibility that he enjoys but cannot control.
  5. There is the potential here for an engaging adventure/survival tale, wrapped in a story of a woman finding her self-confidence by drawing on untapped reserves of strength. But Kormákur fails to find any shape in the narrative of Tami’s actual or psychological journey.
  6. Bening is great fun to watch here, even when she’s just watching.
  7. Solo eventually finds its feet, and the movie gets better as it goes, but we feel throughout the tension between conflicting visions of Howard and original directors Lord and Miller.
  8. Suffice it to say, there is a good deal for Buckley to do, and she does it. In a year of memorable and unnerving female characters, she makes Moll stand out.
  9. A Man of His Word...is not a lecture. It conveys the pope’s concerns, certainly, but it also conveys his charm — his gentle, personal manner, his sense of humor (he quotes from the St. Thomas More joke book), his “charisma.”
  10. There are also Photoshopped aggregations of Bergen, Fonda, Keaton and Steenburgen, and though they were never actually grouped together when young, they register reasonably well here as lifelong friends. The movie rides entirely on their charm, not so much on the strength of the writing or the jokes.
  11. Here, Leitch uses brevity to do for witty action what it famously does for wit alone.
  12. Half the movie has a game McCarthy starring in scenes that live up to the promise of the movie’s title (’80s dance off! Bust a move!), and yet there are major plot points built around this same woman’s fear of public speaking. It has you longing for the narrative consistency of Rodney Dangerfield’s Back to School.
  13. While the movie serves as a pleasant piece of nostalgia, it’s not very deeply felt, and mostly serves to remind us of other, better movies that have covered similar territory, like Adventureland.
  14. RBG
    Brisk and informative.
  15. The doggedly serious Disobedience might have been a more engaging movie if it had allowed itself to be governed by its own melodramatic passions.
  16. It’s barbed, bighearted, and brave.
  17. It all adds up to a bicultural comedy that is good-natured if not especially or consistently well-written. The movie takes too long to get moving, stays a tad too long, and efforts to retrofit the movie as a vehicle for Derbez come at the expense of Faris, a talented comedian who has very little to do here.
  18. The Endless works on its own modest spooky-kooky terms, and also as a rumination on life’s ruts and patterns, best considered over a couple of beers.
    • 75 Metascore
    • 63 Critic Score
    The movie clocks in at just under two hours and feels considerably longer. As it ticks on, it achieves an unlikely and perhaps not entirely unintentional feat: It makes Grace Jones kind of boring.
  19. The movie is mostly gore free and tame by the standards of modern horror movies, and some of the familiar visual touches borrow greedily from the James Wan school. But it’s smartly written and well-acted.
  20. It all adds up to a handsome, engrossing slice-of-life movie with the feel of a Western, inventive and unique. The Rider desegregates a genre that typically presents cowboys and Indians as separate and opposing forces – archetypes unified here in one remarkable individual.
  21. Kean inherited these subjects from his earlier documentary Swimming in Auschwitz, and has said that gender informs the film – the women are particularly attuned to the emotional nuance of the survival story, which comes through beautifully.
  22. Characters overflow on the screen, crowding out emotional investment, and there is a severely misplaced emphasis on the power of special effects — many characters appear to be entirely digitized, and none has much screen impact.
  23. The problem isn’t that the humor is inappropriate, it’s that after almost two decades, it isn’t as funny.
  24. Lean on Pete is life affirming in that it affirms life is hard and unforgiving.
  25. There are a few moments wherein Schumer has a chance to successfully deploy the brash, take-me-as-I-am persona she has cultivated on stage and in her starring debut, Trainwreck, but mostly the script shows signs of having been awkwardly retrofitted to accommodate the star and her brand.
  26. It’s not very deeply felt. Phoenix gives his all, but Ramsay plops us down in the middle of Joe’s breakdown, before we can get our emotional bearings. We figure out who he was — abused child, traumatized soldier – before we get a sense of who he is.
  27. In its last moments...Aardvark finds a groove.
  28. The internal logic of the movie is complex, confusing, and as a result the movie is not very much fun.
  29. Hamm is in his sweet spot here as a former hotshot now emptied of ideals and passion. Pike plays a woman who trades on being underestimated by men, and supporting pros like Whigham and Norris obviously enjoy working with better-than-average dialogue.

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