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 film is almost as messy as its characters’ love lives, and the early scenes, which take a long time establishing the various subplots, play less like a dramedy than a comedy that could have used more jokes. But the movie gets more earnest and impassioned (not to mention better) as it goes along.
  2. The film works effectively on its own terms as a new variation on a timeless subgenre, and as a warning to people who share their lives freely online.
  3. One of the best things about The Big Sick is that the obstacles facing this relationship are real and relatable. It’s a funny movie, but it’s about really serious stuff.
  4. Funny, feel good, and touching, The Incredible Jessica James will leave you with a smile on your face.
  5. Although it’s sometimes uneven with somewhat underdeveloped characters, I Don’t Feel at Home is nonetheless a clever blend of two very different genres. Blair’s mix of humor and feverish violence works best in the film’s final act, when things turn completely nutty.
  6. Live by Night is a very mixed bag: Earnest, handsome, even passionate — and also slow, digressive, and a little bland.
  7. It’s a tender, introspective film you’ll want to pull in close, hold tight, and keep with you.
  8. With his mastery of composition, editing, and music, Scorsese has made some of the most engaging movies in history, experiences that express fascinating ideas through gripping stories, compelling characters, and unparalleled craft. Here, all of those elements seem sublimated to the larger points Scorsese wants to make.
  9. If Passengers was about two people who woke up at random and fell in love, it could be a pretty decent sci-fi adventure. Instead it suggests that consent doesn’t matter, codes stalking as romance, and lionizes its male lead while turning its female character into a love-sick damsel.
  10. Assassin’s Creed makes you actively work for its pleasures, and it’s heartening to see a film of this scale that’s strange and ambitious and doesn’t spoon-feed viewers every little detail.
  11. So many of the decisions by director David Frankel and writer Allan Loeb make absolutely no sense.
  12. Edwards is very good at crafting images that straddle the uncomfortable line between beauty and horror, and at dwarfing people with giant monsters and machines with powers beyond mortal comprehension. It’s his comprehension of mortals that sometimes feels lacking.
  13. With a cast this good and this likable, it’s hard to completely hate Office Christmas Party. Still, with a cast this good, it’s also hard to believe how consistently dull the film is.
  14. This movie offers very few insights, and has no apparent point beyond mythologizing the early days of a company that doesn’t exactly need assistance in the self-mythologizing department.
  15. Rules Don’t Apply could have been an insightful look at a tragic, troubled figure. Instead Beatty made a conventional romance with lead characters we hardly care about.
  16. Bates notwithstanding, Bad Santa 2’s supporting cast just isn’t up to snuff.
  17. Despite a few fantastic deviations (including the lack of a love interest to hinder our hero’s development), Moana is still very much a paint-by-numbers narrative.
  18. It’s the kind of movie that only comes around once every decade or so, but it’s well worth the wait.
  19. Fantastic Beasts is a good movie, and offers a fun and inventive return to Rowling’s wizarding world, but it could have been a better movie if didn’t waste so much time setting up a new franchise.
  20. Prisoners is too nuanced to dismiss, but too silly to take seriously.
  21. Even at its most comprehensible, there’s a lot Sicario deliberately leaves unsaid, and it builds to a crescendo of mayhem and moral rot worthy of a great film noir.
  22. The Da Vinci Code wasn’t Da Vinci, but it was an actual movie with texture and characters. Inferno is dumbed down to a shocking degree.
    • 96 Metascore
    • 100 Critic Score
    12 Years a Slave is an emotional workout, but McQueen makes many remarkable choices.
  23. The bad news is the studio’s most innovative visuals are wedded to one of its most formulaic origin stories. In some scenes, Doctor Strange is Marvel’s most exciting movie yet. In others, it might be its most boring movie since Iron Man 2.
  24. The film is a bit of a mess; a heartfelt, scattershot, mostly unfunny, intermittently moving polemic about our country and its people.
  25. If you're looking for something lean and unpretentious, you should be pretty satisfied.
  26. Never Go Back could have used a bit more personality in the bad guy department, and the middle section sags a bit before the inevitable (and satisfying) denouement. But everyone involved seems to understand exactly what kind of movie they’re trying to make, and they deliver on just about every promise made by the title Jack Reacher: Never Go Back.
  27. The movie gives us fragments of characters and rich flashbacks, but they’re not supported by a fully-formed narrative. Lee has boldly introduced a new technology, but that technology was a bad fit for this project.
  28. The world-building is engrossing. The premise is refreshingly peculiar. The action grabs your attention. As long as the movie keeps a lid on what precisely is going on, it works.
  29. A famous (though almost certainly false) quote attributed to President Woodrow Wilson compared Griffith’s work to “writing history with lightning” and the best sections in Parker’s Birth of a Nation are charged with a similar kind of cinematic electricity. Many of his directing choices are obvious but bluntly effective.

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