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. Taylor’s film lacks the suspense required of a thriller. It’s a cheap exploitation of the horrors of alcoholism, depression, and domestic abuse that thinks it’s much smarter and artsier than it is.
  2. Raw
    To say that Ducournau’s cinematic introduction is assured would be an understatement; it’s a shrewd, insightful, and surprisingly funny film that feels like the work of a more accomplished filmmaker who has refined their talents over the course of many films and years.
  3. Masterminds stars some of the funniest names in comedy. Kristen Wiig. Kate McKinnon. Zach Galifianakis. Jason Sudeikis. Leslie Jones. Too bad the movie isn’t funny.
  4. Featuring a razor sharp performance from the incomparable Isabelle Huppert, Verhoeven’s latest effort is an expertly layered drama in which a successful woman experiences a rather unconventional midlife awakening.
  5. As a director, Berg is known for his brutal action scenes, and while Deepwater Horizon’s second half is full of intense sequences, the film’s first half is just as exciting thanks to the wonderfully uncomfortable dynamics between Wahlberg, Russell, and Malkovich.
  6. It shirks the typical Disney model of an untouchable, picturesque fantasy by telling a more grounded, human story coursing with love and earnestness.
  7. If this were a better, more entertaining film, Miss Peregrine’s could have been a thoughtful and bold metatextual thesis on Burton’s entire career. Instead, like its partially-formed villainous apparitions, it comes frustratingly close to achieving substance.
  8. Though it may come off as Malick for hip-hop-loving millennials, Arnold’s film is a surprisingly poignant experience, a sprawling yet intimate odyssey through Middle America, and a bracingly honest portrait of emerging adulthood.
  9. Although occasionally heavy-handed, Shyamalan’s latest is his most considerate and effective film in years, with a startling emotional core.
  10. Perhaps the most surprising turn in The Handmaiden is that Park has knowingly subverted his own iconography by delivering one of the most beautifully romantic films of the year.
  11. The real treasure of A United Kingdom is the tender chemistry between Oyelowo and Pike, whose scenes together offer the film’s best moments.
  12. There are an obscene number of funny people in this movie — though Mascots is not as obscenely funny as that Murderers’ Row of comedy talent would suggest.
  13. It’s a film that slowly sneaks up on you, imbued with such quiet emotions that you don’t feel its full weight and beauty until it ends.
  14. Snowden has some entertaining sequences, many of which explain the whistleblower’s story in an easily digestible narrative that doesn’t insult the audience’s intelligence or think too highly of itself. But the final moments are a mess; Stone isn’t interested in showing us the real version of the man, only his glorified version.
  15. Pure and simple, Catfight is a total blast.
  16. This is the sort of film that is more frustrating than bad. Vigalondo had something really special here. He just didn’t quite pull it off.
  17. Instead of observing its historical subject from behind a glass case, Jackie offers a piercing portrait of a woman’s psychological and emotional journey.
  18. With infectious enthusiasm, charismatic leads, gorgeous songs, vibrant colors, and dazzling camerawork, La La Land restores the original movie musical to its former glory.
  19. Blair Witch does deliver the requisite shocks demanded of a horror movie for a multiplex audience, but maybe it’s time for filmmakers to stay out of these woods for a while — at least until there’s a new technology for the Blair Witch to mess with.
  20. If (Re)Assignment played more like a spoof of vintage pulp and less like a tacky rehash of it, that choice could have worked. Instead, it just comes off as clueless — about gender as well as filmmaking.
  21. The Girl With All the Gifts is full of surprises. It keeps shifting before our eyes, from atmospheric horror to intense survival thriller to thoughtful contemplation of humanity’s place in our planet’s food chain.
  22. It’s a film that aches with beauty. It cries with longing. It quakes with a rich sadness that lingers with you long after the final moments. A masterpiece of poetic filmmaking, Moonlight is one of the most powerful films of the year.
  23. There’s a decent amount of craft on display, along with a filmmaker of genuine chutzpah. Throw just a little restraint into the mix, and you might really have something.
  24. Nocturnal Animals doesn’t have much substance, but its dazzling style is hard to completely resist.
  25. Arrival is a smart film, but it’s not a cold or clinical one. Both the first and last scene brought me to the verge of tears.
  26. The group...make a fine crew. But the rest of the movie doesn’t find enough interesting wrinkles on the old formula to merit a reboot.
  27. Whatever Demon’s autobiographical elements, this film feels incredibly personal; like a howl of pain ripped straight out of someone’s soul.
  28. The film isn’t about catastrophe; it’s about the beauty of what happens when everyone works together to solve a problem.
  29. The film will be remembered for its performances, but it should also be remembered for its messy, realistic examination of the complicated decisions we’re faced with in life.
  30. Unafraid to expose her character's weaknesses and degradation, White Girl establishes Wood as a brazen new talent to watch.

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