The Associated Press' Scores

  • Movies
For 437 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Roxanne
Lowest review score: 0 Lethal Weapon 3
Score distribution:
  1. Negative: 55 out of 437
437 movie reviews
  1. There is little here, amid the high-tech photorealistic animations, that would satisfy London’s concept of “wild.”
  2. The misunderstandings are too numerous to describe. But the proceedings are beautifully paced, and the movie feels light and airy, like a pleasant dream.
  3. Written and directed by Stella Meghie, the film is a gentle and attentive inter-generational tale with a first-rate cast.
  4. The little blue alien who can sprint quicker than the speed of light has ironically benefited from slowing it down, taking a pit stop to retool and emerge this month as a total crowd-pleaser.
  5. The first half doesn’t fit with the second half, there are too many distractions and the filmmakers think it’s clever to leave clues but they do it clumsily and at the last minute and it’s really exhausting for the viewer.
  6. Ultimately it all rides on Robbie, who, along with her blond, color-dipped pigtails, brings an appealing blend of looniness and grit to the role, and a hint of something sadder and darker. Still, one gets the sense the filmmakers weren’t quite sure how far to go with the feminism thing. When she says sadly that “a harlequin’s nothing without a master,” you don’t immediately get the sense that this is a post #MeToo Harley Quinn.
  7. The expressive Garner does a lot with a little. She has no big speeches, no tantrums, no floods of tears. It’s the ultimate unshowy part. If there is a word to describe Jane, it is small. Garner seems to shrink as the day goes on.
  8. Morano is absolutely adept in keeping tension rising, her characters grounded and her audience intrigued, a half-step behind.
  9. Gretel & Hansel is as visually arresting as it is tedious, a 90-minute movie that really should have been a 3-minute music video for Marilyn Manson or Ozzy Osbourne. It’s in the horror genre only loosely. It’s more eerie, if that’s a genre. Actually, it’s like dread for 90 minutes. It’s dreadful.
  10. Hunnam’s presence, alone, keeps the movie grounded. But the movie time and time again exalts the gallantry of its gentlemen heroes at the expense of those unlike them. It gives this glass of Gritchie’s English Lore a bitter taste.
  11. Despite its flaws, this movie reminds us all of the sacrifices made by soldiers and to be mindful of how we treat them when they come home.
  12. It’s really not a good sign when a movie ends with a bold, shocking flourish and much of the audience can be heard muttering through the credits: “Wait, um ... WHAT?”
  13. Perhaps the biggest disappointment of Dolittle isn’t the incoherent story line, the suffocating CGI or the unfunny stable of celebrity-voiced creatures. It’s that Downey’s personality doesn’t come through at all, either a victim of the surrounding mess or a party to it.
  14. “Bad Boys” only works when the bickering cops are center stage.
  15. Ly’s film excels in its lively verisimilitude, its terrific cast and its intensity. Les Miserables is a powder keg, always at risk of detonating.
  16. Director William Eubank keeps the action taut and the look of the film is realistically impressive and dark, with grimy, dirty workers donning cool dive suits that make them each look like Transformers. His camera often goes tight on the shocked faces inside the helmets. Stewart, in particular, shines with a combination of steely nerves and harrowing expressions.
  17. Just Mercy is not always an easy film to watch, but it is necessary.
  18. Yes, it’s a dazzling technical feat. One could also consider it a gimmick, or at least a method that threatens to distract the viewer’s attention. But that ignores the fact that this very filmmaking style is also hugely effective at delivering this particular story, in the most visceral way possible.
  19. Does all this work? Well, it depends on how you feel about ... Cats. Did you love the show? You’ll find stuff to love here. Did you hate it? Ditto! Or maybe ... you’ll have both reactions? That’s possible too.
  20. There is a wild urgency to Greta Gerwig’s Little Women that hardly seems possible for a film based on a 150-year-old book. But such is the magic of combining Louisa May Alcott’s enduring story of those four sisters with Gerwig’s deliciously feisty, evocative and clear-eyed storytelling that makes this Little Women a new classic.
  21. For a movie predicated on satisfying fans, The Rise of Skywalker is a distinctly unsatisfying conclusion to what had been an imperfect but mostly good few films.
  22. If Eastwood had extended the sensitivity it shows to Jewell to others, it might have been worth something more. Instead, it becomes just what it preaches against: a hatchet job.
  23. Like all sequels, the second suffers from not having the delicious surprise of the first, but the seed to a third film is hinted at in the closing credits, which is more than the first film promised.
  24. The question, ultimately, is whether Bombshell ought to have spun quite so snappy a movie out of such a story. It does cartwheels to make a vile tale compelling, and it can feel like a parade of starry impressions rather than something genuine.
  25. It’s obvious that Sandler, the actor, is capable of extraordinary range — not in the traditional, Meryl Streep sense, but a range of incredibly good (“Punch-Drunk Love”) to painfully bad (the horrendous “Jack and Jill”) and incredibly good again, as in Uncut Gems, a frenetic, compulsively watchable, exhausting and exhilarating collaboration with Josh and Benny Safdie.
  26. The Two Popes might promulgate an optimistic portrait of the Catholic Church and its leaders. But in these sweetly sincere scenes, you forget Benedict and Bergoglio are pontiff and pontiff-to-be. And the moment of respite from the world’s arguments and divisions feels like a benediction.
  27. The whodunit turns out not only to still have a few moves left but to be downright acrobatic.
  28. It’s Jones who dominates the film
  29. A film in which everything feels stunningly fresh, raw and new.
  30. The remarkable Queen & Slim is a romance and a road movie, a film about outlaws on the run, two journeys of self-discovery and a nuanced social commentary. It’s not perfect but it’s close — an urgent, beautiful and socially conscious trip through the American racial psyche in 2019.

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