ScreenCrush's Scores

  • Movies
For 343 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 Three Billboards Outside Ebbing, Missouri
Lowest review score: 10 Dolittle
Score distribution:
  1. Negative: 39 out of 343
343 movie reviews
  1. The Florida Project immerses us in more stories that too often get excluded from movies. It finds magic in the mundane, and reminds audiences how to look at the world through fresh, untainted eyes.
  2. It
    IT is better than The Dark Tower in every conceivable way. And beyond the inevitable comparison, it’s just really good. Scary good, even. The new IT is narratively coherent, mythologically complex, and above all, fun. Yes, fun.
  3. The film never figures out how to merge Jeannette’s younger and older perspectives into one cohesive voice.
  4. Good Time is a uniquely exhilarating experience with a sharp, unflinching style and a magnetic performance from Robert Pattinson.
  5. The Hitman’s Bodyguard is not the best movie of the summer, but it is easily its most pleasant surprise. An unapologetically violent and vulgar buddy action comedy, it updates the template set forth by Lethal Weapon and particularly Midnight Run for a new era.
  6. Detroit suffers from muddled intentions and a lack of a clear why. It could have maintained a narrower focus on the lives of the black folks affected by the motel incident. Instead, Detroit tries to accomplish too much too cautiously.
  7. There's certainly a thrill to watching a single woman lead a movie where she's chasing down criminals like an unstoppable killing machine. Is Kidnap inane? Totally. But fun? You bet.
  8. Even when the movie around him is total garbage nonsense, it is fun to watch Idris Elba; the way he walks, the way he stares at people with eyes blazing with intensity. He is an ideal action hero. He looks like the coolest man who ever lived in his fantasy Western garb, and he moves with a rare combination of grace and force, like the greatest possible combination of Gene Kelly and Chow Yun-Fat. He makes an amazing Gunslinger. Sadly, he’s trapped in a not-very-good Gunslinger movie.
  9. There are plenty of words that can describe The Emoji Movie. Here are a few of them: Unfunny. Saccharine. Nonsensical. Painful. And, of course, crappy. (If you prefer the poop emoji, that works too.)
  10. Soderbergh did some impressive work during his break from the movies, but Logan Lucky proves his talents need to be showcased on the big screen, melding crime and suspense with comedy.
  11. Dunkirk would have been even better, though, if any of the characters seemed as fully realized as the aerial and naval warfare. Without that, it works best as pure sensory experience; incredible visuals, intense battles. In the rare quiet moments, we’re invited to observe an unusual instrument featured in Hans Zimmer’s score: The ticking of a clock, a reminder that while Nolan can change the march of time, his heroes cannot.
  12. This movie takes big risks, and many of them pay off. War for the Planet of the Apes proves that big movies aren’t incompatible with big ideas.
  13. The latest from the French filmmaker is a dazzling feast of spectacular visuals and exhilarating set pieces. It’s Besson’s most ambitious film to date, and the most original big-budget adventure you’ll see on screen this season. But such ambition doesn’t always come without flaws.
  14. It is, from start to finish, one of Pixar’s best films.
  15. Spider-Man: Homecoming is a return to form, featuring an incredibly likable cast, a compelling and complicated villain, and a irrepressibly charming Spider-Man. Welcome home, Peter.
  16. The Last Knight is not, in any conventional sense, entertaining or good, although parts of it are spectacular.
  17. While this movie may not reach the heights of Pixar’s finest achievements, it certainly stands as not only the best Cars, but the most mature one as well.
  18. It may unfortunately ring hollow for some, but for those who acutely empathize with the ravages of grief, Shults has delivered a film more horrific than any boogeyman or ghoul in recent memory.
  19. The nonsensical story would matter less if The Mummy would get out of Cruise’s way and let him do what he does best. Instead, it buries him beneath punishing dialogue scenes and surrounds him with unconvincing and unoriginal special effects.
  20. Wonder Woman is exciting, romantic, funny — and my favorite DC Extended Universe movie to date. With her courage and strength, Diana sets an example for everyone she meets, and she holds fast to her ideals even under great pressure. With any luck, she’ll provide similar inspiration to the directors of the DC Extended Universe in the years ahead.
  21. Baywatch’s comedy (credited to six different writers) is second-rate and its action is even worse, with special effects that rank among the absolute worst I’ve seen in a big summer movie in many years.
  22. Dead Men Tell No Tales is the sort of sequel that’s so bad it makes you retroactively wonder why you liked the original film so much in the first place.
  23. The reason to look past the movie’s issues is Fassbender.
  24. A bloated action movie with occasional breaks in the monotony. It’s Perfectly Fine™; entirely competent but unexceptional in just about every way.
  25. Despite a rapidly escalating plot, The Circle lacks any momentum, a problem that’s only made worse by woefully underdeveloped characters delivering painfully earnest and stilted dialogue.
  26. The film deepens the melancholic, existential notes from end of The Trip to Italy, and continues to evolve with its characters emotionally.
  27. The characters and their relationships are strong and the dialogue is sharp, but the whole thing feels like a minor installment in an ongoing series.
  28. Even though Walker is still present, his absence is already felt. It is strange to watch a movie that is this much fun and this sad all at the same time.
  29. There’s certainly a lot to enjoy in The Fate of the Furious, but even the strongest moments are less spectacular this time around.
  30. Its unhurried pacing, complex themes, and magnificent visuals that must be seen on a big screen make it feel like an artifact from an era of big-budget filmmaking that has been rendered essentially extinct by the franchisification of Hollywood.

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