Original-Cin's Scores

  • Movies
For 527 reviews, this publication has graded:
  • 70% higher than the average critic
  • 4% same as the average critic
  • 26% lower than the average critic
On average, this publication grades 8.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 73
Highest review score: 100 Ash Is Purest White
Lowest review score: 25 Little Italy
Score distribution:
  1. Negative: 11 out of 527
527 movie reviews
  1. It works as a buddy road movie (as is Patrick’s argument) and as a hero’s quest (as SpongeBob argues). Either way, there is not a lot of twists and turns complicating matters, save for one outrageous side-trip.
  2. The Vigil is a satisfying work of suspense and mystery with a few well-executed jump scares.
  3. Though it’s a movie with an identity crisis, Rahim’s magnetic performance carries enough of The Mauritanian to make it a worthwhile watch.
  4. Chung’s well-crafted film is amply aided by a uniformly superb, note-perfect cast, who bring colour, nuance and heart to the film.
  5. While the gangster genre over the past 50 years has been the specialty of Italian-American auteurs (Coppola, Scorsese, DePalma and The Sopranos’ David Chase), Mafia Inc., directed by Quebec director Daniel Grou (a.k.a. Podz), stands up surprisingly well.
  6. Nikolay Michaylov’s up-close and occasionally claustrophobic, documentary-style camerawork pushes the realization that Anne’s giddiness is always flirting with a dark rebound. We sometimes feel we’re in it with her as the camera whips around Campbell’s face.
  7. Writer/director Harry Macqueen (Hinterland) does best with this deeply moving drama of devotion and the dread of approaching loss when he stands back and lets these two actors loose. Firth and Tucci provide arguably the best performances of their careers as two 60-something lovers facing a crisis.
  8. Sure, there are some odd turns in the movie that I’m still trying to work out, but that didn’t diminish the fun. Even more, to the point in this COVID era, is how this theme of being trapped also speaks to anxiety, depression and that feeling that no matter what you do, you can’t escape yourself.
  9. Shot when COVID protocols allowed for minimal location shooting, the film is amusing partly because it hits on these resonant COVID-tropes. That and some nice stunt casting, makes this rom-com/heist fun.
  10. Malcolm and Marie starts well, but very quickly, once the situation has been laid out and discussed, the film veers off in directions that don’t take the characters, or their situation very deep. Without that emotional heft, the film ends up spinning its wheels, and doesn’t take the characters, or us, far enough.
  11. I Blame Society barely scrapes by as midnight movie camp; it’s much better as a form of wryly witty performance art/film criticism.
  12. A farce that fizzles, a satire that sags, and a dead-end for its gifted cast, Breaking News In Yuba County at least starts well.
  13. Featuring terrific performances from Get Out alumnus, Daniel Kaluuya as the young revolutionary Hampton, and LaKeith Stanfield as FBI informant, William O’Neal, the film is a revelation from King, a director, who until now, was known for his television work and the 2013 comedy, Newlyweeds.
  14. There is plenty to like about director Anna Kerrigan's film Cowboys. Its (near) family-friendly pitch on transgender issues is refreshing. Its uncluttered presentation is disarmingly frank.
  15. I imagine it's possible to enjoy Paradise Cove. Going in with low expectations is a good start. Accepting the film's dated approach to demonizing the less fortunate helps. Relinquishing any hopes of credibility in plot or character is essential. Manage that, and Paradise Cove might have a campy, if not tawdry, appeal.
  16. A masterpiece of squeamishly uneasy, nightmarish mood-making, the demonic-possession film, Sator is partly in the vein of The Blair Witch Project – though much more sure-handed and stylistically sophisticated.
  17. Director West makes excellent use of the film's set pieces, from runaway trams to spectacular underwater lava spills. Yes, Skyfire stretches believability to its breaking point. But with comic-book action so firmly planted in most every scene, any attempt at credibility would only be an unwelcome intrusion.
  18. The film suffers from the over-interpreting mental “glitch,” eagerly connecting coincidence, mental illness, drug experiences, religious awe, computer gaming, and science fiction movies in an over-arching pattern.
  19. How wonderful to see a movie that deals with the emotional and sexual life of two very different women north of 60, who are the sum of their lives, not bound by cultural cliches or perceptions.
  20. It’s an unoriginal, budget-conscious and hardly brain-taxing race against time. But that doesn’t negate its entertainment value or its often heart-pounding pace.
  21. Looking past its nostalgia and unhappy ending, More Than Miyagi: The Pat Morita Story is kind of a time capsule of an era of North American showbiz, and the compromises and struggles that faced people because of their faces.
  22. It’s a heartfelt film that seems to be aimed at the strength of familiar love in spite of difficulties. The elements are all there, but the film’s repetitive structures render it frustratingly flat.
  23. Rams is a film that goes its own way, settling like a cozy sweater made from beautiful sheep.
  24. As flat and uncompelling as its title, Jiu Jitsu plays like a hybrid of rejected audition tapes from Predator with the outtakes from the fifth Highlander movie (and not the ones starring Christopher Lambert). But just how bad is Jiu Jitsu? Well, bad enough that the phrase “a waste of Nicolas Cage's talents” actually means something.
  25. A stately 20th Century period piece in the style of the best British dramas, The Dig is just what the anglophiles ordered.
  26. The parts of The Little Things that are good aren’t original, and the parts that are original aren’t good.
  27. At under 90 minutes, Make Up doesn’t include much action but the skin-crawling effect of the film reverberates until after the credits roll. The entire technical package — the menacing visuals, the rumbling soundscape, the brief disorienting sequences of flashbacks and dreams — are anchored in naturalistic, understated performances.
  28. Despite the relationship he had with the Enaches, Ciorniciuc sticks to his roots as an investigative journalist and makes no judgements. He avoids giving easy answers.
  29. There’s nothing new in noting that crime and dirty politics are fast tracks to success. (“Is it the same in your country?” Balram asks the viewer). What’s more interesting here is how The White Tiger explores the paradoxes of the master-servant dynamic. Singer-actor Gourav is marvelous in capturing the duality.
  30. With winks at the cheesiness of a previous generation’s entertainment and a razzberry directed at contemporary blockbusters with a thousand times its minuscule budget, Psycho Goreman is an entertaining exercise in low-tech sci-fi camp.

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