ScreenCrush's Scores

  • Movies
For 342 reviews, this publication has graded:
  • 40% higher than the average critic
  • 1% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 12 Years a Slave
Lowest review score: 10 Dolittle
Score distribution:
  1. Negative: 39 out of 342
342 movie reviews
  1. It’s powered by a truly harrowing performance from Moss, and with the exception of one plot thread it probably telegraphs a little too obviously, is cleverly constructed for maximum dread — and maximum audience identification with Cecilia and her precarious grip on sanity.
  2. Onward’s ups and downs suggest these probably are less magical times at Pixar. But that doesn’t mean with enough hard work or concentration — or maybe just following your gut — that the magic can’t come back, if only for a little while.
  3. If Suicide Squad felt like Warner Bros.’ deliberate attempt to replicate the quirky fun of Guardians of the Galaxy, Birds of Prey is its stab — and there is a lot of stabbing in it — at making DC’s Deadpool.
  4. An unpleasant, incoherent mess that feels like it was stitched together from outtakes and reshoots of something that used to look totally different.
  5. The themes introduced in the early scenes are explored in the second act, further expressed through the chases and fights, and resolved in the conclusion. This might sound like rudimentary stuff. But it’s sometimes shocking how few blockbusters successfully pull off the rudimentary stuff.
  6. The burden of wrapping up a 40-year franchise weighs heavily on Star Wars: The Rise of Skywalker, an overstuffed chase film that barely lets up from its connect-the-dots MacGuffin-heavy plot for even a second or two.
  7. This is a blast of Bayhem so pure and unfiltered that when a detached human eyeball gets used as a “funny” prop during the first action sequence, it feels like Michael Bay declaring his intentions: This movie is going to blow your f—ing eyeballs out.
  8. Even with Frozen II’s problems, the ending affected me. Because some things do change. Even if they always remain Frozen.
  9. The person who makes the new Charlie’s Angels work when it works is Stewart, very much playing against every image of her audiences have built in their minds over the last decade or so.
  10. In a world where it will be available right alongside the original film — both at a click of the exact same button for the same monthly price — I’m not entirely sure why it exists, beyond refreshing this particular IP, reminding customers about the original movie, and slightly padding out Disney+’s lineup of “original” offerings. It is harmless, and pointless.
  11. Like HBO’s new Watchmen series, Flanagan’s Doctor Sleep doesn’t simply rehash its source material, and instead uses its characters, setting, and themes in smart and novel ways.
  12. I can (and have) defended each of the later Terminator sequels, but there’s no question Dark Fate is the best of the bunch.
  13. The Safdies have crafted a complete experience here: A pointed critique of the “American Dream,” a wry portrait of Jewish assimilation in the 21st century, a cautionary tale about gambling addiction (that also doesn’t shy away from showing how seductive sports betting can be), and an unflinching character study centered around the best performance of Adam Sandler’s career.
  14. While The Lighthouse didn’t hit me as deeply or as sharply as The Witch, the fact that such a strange feature can still be produced with so few concessions to the mainstream, and that it’s coming to theaters, feels like a breath of fresh air — albeit one cut with at least a few Willem Dafoe farts.
  15. Lee has already made another movie in high frame rate, and seems to have a solid handle on how to use it to his advantage. “HFR” makes water and cityscapes look spectacular, and Gemini Man has plenty of both. And it makes action scenes even more visceral, especially ones that utilize long takes to allow for a lot of movement through the frame towards and away from the camera. There’s a long take of Smith’s character riding a motorcycle in Colombia that will go down in history as one of the coolest bike stunts ever.
  16. Essentially, Memory is too superficial a treatment of the chestburster sequence to validate making half of a movie about it, and it’s also too lengthy an exploration of it to give the other elements of the movie their proper due.
  17. Good or bad, it’s undeniably one of the most depressing comic-book movies ever made. (It’s also got one of the most depressing comic-book movie scores, an endless dirge of droning strings by Hildur Guðnadóttir.) The calls from some corners to ban the film because it could incite violence give the movie too much credit. It’s not irresponsible. It’s just immature.
  18. The Irishman doesn’t always go by that quickly. But those moments contemplating the end of everything are among the most moving of Scorsese’s career.
  19. While Gray may have told basically this same story before, Ad Astra’s cosmic setting makes it even more poignant, because it puts into such sharp relief how small each of us is against the vastness of space, and how our time in that space is the most finite blip possible when compared with the totality of cosmic history.
    • 57 Metascore
    • 50 Critic Score
    A solid, workmanlike melodrama with an attractive ensemble cast. What it lacks is the flair and substance that marked Paolo Virzi’s 2013 version of the same material.
    • ScreenCrush
  20. The parade of subplots and explanations keep sinking a story that previously floated along so effectively. I saw It Chapter Two a few nights ago and I think it just ended.
  21. What a pleasant surprise that the movie is far funnier and more perceptive about this brutal, hilarious time in a child’s life than I anticipated.
  22. Scary Stories to Tell in the Dark is drenched with symbolism and layered with ideas about lost innocence and the power of stories — and the power of creating something that resonates with an audience for years and years. I suspect this movie will do exactly that.
  23. Hobbs & Shaw is the movie version of a replacement-level player. It is adequate, but not exceptional. It’s the baseline version of what one of these movies should be, now that they’re not about undercover cops chasing thieves anymore.
  24. The movie has an elegiac quality; it’s filled with passionate feeling about the fleeting nature of life and the magical permanence of cinema.
  25. As a purely technical achievement, the new CGI cast of The Lion King is impressive. As a means to tell its fictional story, it is deeply misguided.
  26. The stuff about this couple in decline is lacerating and painful in the best and most hilarious ways possible. The stuff about the solstice is standard horror fare made unfurled, with exceptional craft, at a snail’s pace. And the longer Midsommar goes, the further it gets from the pain and the loss that fueled its emotional core, until it has lost touch with the things that made it special.
  27. Spider-Man: Far From Home is best viewed as the dessert at the end of an elaborate and overindulgent tasting menu. You’ve already eaten twenty-two courses, you’re totally stuffed and in no mood for more food, and then they bring out the cookie sampler with eight different kinds of homemade sweets and of course you eat it and you’re even more full than before but it was worth it because the cookie sampler is amazing.
  28. In my mind, there’s no question Toy Story 4 is the weakest movie in the series. But it’s also the riskiest and the most pleasantly unpredictable.
  29. The degree to which Men in Black International wastes Hemsworth and Thompson’s talents — and in the process almost makes them seem like bland, uninteresting actors, despite all the previous evidence to the contrary — is almost an accomplishment in and of itself, and the rest of the film is equally useless (not to mention long, at just under 120 minutes).

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