Original-Cin's Scores

  • Movies
For 267 reviews, this publication has graded:
  • 70% higher than the average critic
  • 2% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 8 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Love, Gilda
Lowest review score: 25 The Curse of La Llorona
Score distribution:
  1. Negative: 8 out of 267
267 movie reviews
  1. This is one of those animated features that veers way towards adult references for the parents in the room, while creating occasional mayhem in the pursuit of short-attention-span theatre. The latter fails.
  2. For the fans, Us + Them offers a meticulously constructed concert experience for a fraction of the price of a live ticket and a chance to join a chorus in yelling back at the TV. For the casually curious, be forewarned: While Waters still burns with righteous zeal, at an often repetitious 135 minutes, the film will leave your backside feeling uncomfortably numb.
  3. Tyrnauer’s film doesn’t seem to trust its material enough to allow the power of the stories to unfold without a constant hammering of a B-level-journalism music soundtrack — the kind best-suited for tabloid news programs. And the film’s unwavering criticism of Cohn (however warranted it might be) reduces an otherwise gripping biographical story into a sensationalized television-ready expose.
  4. Sometimes, the script is very funny; always, it tries too hard to please; and it never lets you forget that it has been calculated down to a smirk and a teardrop.
  5. The Laundromat consistently feels as if it’s intended to be funnier or more poignant than it actually is.
  6. Joker has what may be the best lead performance of the year, but it is not for the faint of heart. Director Todd Phillips digs deep into the shadow side of society for one of the darkest movies in recent memory.
  7. Typical of a certain kind of Sundance feelie comedy, Before You Know It is both promising and exasperating enough you’ll probably leave the cinema thinking of ways it could be improved.
  8. For all its hallowed movie references, and despite the pride Zeroville takes in its weirdness, it just might be a movie too strange for its good.
  9. It occurs at a certain point that Ronstadt was kind of the Meryl Streep of pop music, capable of taking on any vocal role and making it sound like she was born to it.
  10. Monos is an immersive, sweaty, almost hallucinatory experience of hormone-driven anarchy.
  11. My feeling is that Rupert Goold’s Judy is as good as it needs to be to stand as a framework for Zellweger’s incandescent performance. Parts of the plot are A-to-B, a lot is unsubtle and a climactic scene involving her most famous song is pure-Hollywood schmaltz. But the worst of Judy is worth the price of admission for the one bravura performance.
  12. As with the series, the movie is a mix of situational comedy and some drama. It touches on politics, personal and national, as well as other issues of class and status, that feel both era-specific and contemporary. And, of course, Maggie Smith as the crusty matriarch Violet Crawley, still gets the best lines.
  13. It’s a movie that is well intentioned and aims big, but ends up being somewhat shallow.
  14. Freaks is a mind-bending thriller that is subversive enough to be rebellious, and in this era of CGI superhero cinema, the revolution is welcomed.
  15. Motherless Brooklyn is the sort of risk-taking effort that deserves kudos whether it works or not. As it happens, this lengthy film-noir labour of love by writer, director and star Edward Norton, is well worth the ride.
  16. In between the long patches there are some scary turns, though with diminishing returns, and director Andy Muschietti and screenwriter Gary Dauberman frequently turn to fears first cousin, humour, by wise-cracking through their peril. This too gets tired. But almost anything would after nearly three hours.
  17. An emotionally moving thriller that smoothly negotiates the horrors of the supernatural and real world evil with haunting imagery and tension.
  18. It’s entertainment as fast food, though perhaps slightly less objectionable than the horrors perpetuated by KFC.
  19. It’s not always a comfortable place to be, but with Linklater explores it here with humour, rather than pathos. And once again, with his persistent humanism, he offers us a question worth exploring.
  20. While Chadha includes a few gritty nuggets about the psychological cost of immigration, the problems are mostly smothered in a warm jelly of sentimentality, a surfeit of stock characters and an exhausting succession of feel-good breakthroughs.
  21. Good Boys might pride itself for its lack of restraint, but the film’s guileless good nature that it charm
  22. If you’re already on to the more sinister stuff, this is probably an unnecessary retreat into mild ickiness.
  23. There’s star power in front of and behind the camera in the new mob action-drama The Kitchen. But all that talent, unfortunately, doesn’t add up to a satisfying movie.
  24. Like the characters it portrays, Mine 9 simply does its job as best it can with the resources at hand.
  25. The cast is made up of some of the finest and most interesting actors working in film today. And for the most part they’re doing thoughtful work. Unfortunately, there’s only so much they can do. The film doesn’t go emotionally deep enough to pay off.
  26. Cold Case Hammarskjöld is likely to be divisive; I’m divided myself. Brügger’s awkward juxtaposition of clowning with real-life horrors is off-putting. In a time plagued by conspiracy theories, the film is an example of an acutely timely uneasiness, reminding us how conspiracies can be simultaneously toxic and compelling.
  27. The sharks are disappointingly not scary but they’re interesting-looking with their plastic torpedo heads and serrated-saw smiles. When they leap out of the dark to dismember bodies, they bloody the waters in swirling lava lamp patterns that feel almost peaceful. Or perhaps I’m just trying to find a nicer way to say dull.
  28. On the surface, Luce is a study of race and privilege in contemporary America. But it’s more broadly and more subtly about family relationships and the psychological deals we make with others and ourselves.
  29. David Crosby: Remember My Name is an excellent debut by first time documentary director A.J. Eaton. He has a journalist’s sense of story-telling. He doesn’t soften or romanticize Crosby’s story, or the era for that matter, and stays just far enough away from his subject to avoid judgement.
  30. As it is, The Art of Racing in the Rain won’t disappoint anyone with basic expectations of a dog movie. It’s full of aww, if not wonder.

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