We Got This Covered's Scores

For 506 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Star Wars: Episode VII - The Force Awakens
Lowest review score: 20 Sandy Wexler
Score distribution:
  1. Negative: 35 out of 506
506 movie reviews
  1. Elegant and entrapping, muddy and magnificent, Monos is a thrilling, if ambiguous endeavor of guerilla warfare, human nature, and adolescent anarchy.
  2. Between the split bones and compulsive carnage, a disjointed script, co-written by Stallone and Matthew Cirulnick, makes Rambo: Last Blood mindless and messy.
  3. 3 From Hell is an ugly example of too much wicked style over zero intended substance.
  4. As a timely testament to our willingness to validate and support rather than investigate, White Lie is both insightful and terrifying.
  5. While it takes a few too many cues from similar coming-of-age tales, Honey Boy offers audiences an egoless dissection of Shia LaBeouf’s side of his own story.
  6. A rebirth for both actor and director, Pain and Glory sees Banderas and Almodóvar at the peak of their electric, heart-wrenching capabilities.
  7. Any hint of sappiness in the neighborhood is squashed by Hanks’ paralyzingly delightful turn as Mister Rogers in A Beautiful Day In The Neighborhood.
  8. A macabre masterpiece, Joker’s social relevance may be disputed for years, but the film and its star may never be denied the grandeur of their cinematic revolution.
  9. For 130 minutes, the writer-director disorients and delights, confidently trailblazing through his murder mystery two, maybe even three steps ahead of the audience. This isn’t a simple, direct testament to the slick, sidesplitting script, nor the fully committed, second-to-none ensemble, but rather a passed inspection of these cogs and their ability to form a purely entertaining experience.
  10. Thrilling sci-fi exploration that ponders the melancholic state of self-worth, existence, and what it truly means to be alive.
  11. The Lighthouse boasts and thrives off of a maritime rap battle between Willem Dafoe and Robert Pattison, whose claustrophobic journey together towards madness is among the sickest and most memorable collaborations in recent memory.
  12. Ready Or Not is an exquisite horror comedy heavy on familial dysfunction, heavier on gameplaying brutality, and always a reminder that Samara Weaving deserves to be the biggest of megastars.
  13. It Chapter 2 downgrades Pennywise's presence amidst the adult Losers' coming together, but is still a funhouse-freaky sequel that makes quite the statement in terms of scaling blockbuster horror bigger and grander.
  14. The Banana Splits Movie is a peculiarly fresh nostalgia trip and has just the right amount of gore to make this otherwise by-the-numbers slasher a surprisingly amusing experience.
    • 45 Metascore
    • 40 Critic Score
    Angel Has Fallen is a galumphing installment to a galumphing action franchise. With a hero who's been beaten to a pulp, the next one could very well be called "Gerard Butler Has Fallen: Natural Causes."
  15. Good Boys successfully exploits a newfound ground between crudeness and innocence, but nearly runs it dry.
    • 92 Metascore
    • 100 Critic Score
    Apocalypse Now: Final Cut is a graphic yet gorgeous masterpiece about the Vietnam War. It's also perhaps the best movie ever made about the horrors of war.
  16. 47 Meters Down is still the alpha of this franchise pack, but Uncaged's stealth "slasher but with sharks" structure is an approved and entertaining surprise.
  17. Scary Stories To Tell In The Dark is gateway horror that treats intended audiences to many a scream, pulling no punches nor watering down nightmarish conjurings that remind how healthy fearful emotions can be at any age.
  18. One can say that Faulkner is unfilmable, but any work will be unfilmable when it is being adapted by a talentless director. In this case, the fault of the film’s issues stem completely from Franco and not at all with the difficulty in Faulkner’s writing. Hopefully, after two failed outings, the actor will learn to leave Faulkner’s masterful work alone. Although knowing him, I wouldn’t be surprised to see him try his hand at adapting one of the author’s works again.
  19. Once Upon a Time in…Hollywood is a wistful fantasy fueled by a series of top-grade performances, a stampeding collage of Tarantino-isms, and of course, a happy slathering of movie magic.
  20. Nearly every aesthetic decision that went into this version of the The Lion King detracts from the artistry and the heart that helped its predecessor surpass immortality.
  21. Crawl is a sensationally thrilling aquatic nightmare filled with carnage, bubbling chaos, and all the creature-feature intensity that makes this the summer's must-see horror event.
  22. Ari Aster continues on as filmmaking’s ringleader of grief in Midsommar, an unsettling, often shocking portrayal of cultic life that’s rich with both ambition and beauty.
  23. Yesterday’s lackluster, underwritten script both births its golden egg concept, and also restrains it from ever reaching the next level of sophistication or interest.
  24. Annabelle Comes Home is crowd-pleasing horror entertainment that’s both fun and eerily frightening.
  25. Spider-Man: Far From Home is the upbeat teenage "road trip" comedy antidote to post-Endgame doom and gloom that Marvel fans deserve.
  26. Toy Story 4 is as mediocre a Toy Story movie as there is and probably can be, but it also marks another unbelievable triumph at Pixar in their never-ending quest to realize the imagination.
  27. Your enjoyment of Child's Play will depend on if "Chucky 2.0" is funny enough for your horror comedy tastes, because without investment in Kaslan's "Buddi," there's not much to appreciate beyond a few gnarly slasher deaths.
  28. With a greener blend of heart and humor, Shaft safely ushers in the vigilante detective for modern audiences, though safety never seemed to be a factor before.

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