Consequence of Sound's Scores

For 683 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 BlacKkKlansman
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Negative: 92 out of 683
683 movie reviews
  1. The Mule is a functional take on capitalism, work-life balance, and the creeping, overlong process that is aging. The tense moments click.
  2. As with any number of popular YA novels-turned-feature films, Mortal Engines has a wealth of possibilities and curious ideas at its disposal. Instead, it tears past them in pursuit of some of the subgenre’s most exhausted narrative tropes, chewing up everything engaging as it grinds along.
  3. Once Upon a Deadpool doesn’t offer nearly enough new gags to justify its cheeky family-cut re-release. Sure, the bits they add are great – Fred Savage’s hostage situation with Deadpool should have been a cool third of the film – but in the end, it’s a retread as limp as one of Wade Wilson’s re-growing limbs.
  4. Aquaman is a pure piece of bright, ridiculous spectacle, hammering its Saturday morning cartoon sensibilities down its audience’s throat with a huge, cheesy grin on its face.
  5. Mowgli is not entirely recommendable, but it’s not a total bust either.
  6. It’s vital in the sense that there aren’t enough third-party chronicles of this undeniably potent force in the online world, but it’s sloppy in how safe it feels — it’s easy to imagine the stars agreeing to speak so long as certain topics were either breezed over or avoided entirely.
  7. Vox Lux wants to be everything and winds up being nothing. By the end, when the whole thing devolves into a dubious concert film, and we’re watching fake fans go crazy over fake songs, there’s this uncanny valley of universal bliss that’s just achingly hollow.
  8. If you walk into Mary Queen of Scots looking to be dazzled by some great performances and rich art direction, you’ll walk out satisfied, no question. If you want something more than that, it’s likely the reaction will be more mixed.
  9. There’s a breathless sense of discovery and play that makes the film seem new, even as it’s tap-dancing through the imprints of so many sci-fi stories throughout the years. Simply put, superhero movies don’t often carry this sense of possibility anymore.
  10. There’s a rich, hilarious novelty to the film’s juxtaposition of glittering pop and ultraviolence, but by virtue of the clear disconnect between story and song, that novelty quickly wears thin.
  11. The House That Jack Built is an audacious and divisive film, sure, but only because of the context surrounding the film. The gore! The violence! The subject material! Oh my! At its core, though, von Trier has actually assembled his most accessible work to date.
  12. Like the women who populate its halls, it might be easy to see The Favourite as only one thing, to reduce it to one quality, but it contains multitudes. And like its three central characters, you underestimate it at your peril.
  13. It’s moving stuff, even if Kore-eda threatens to dilute his themes by overindulging in them. Shoplifters overstays its welcome somewhat as the third act rolls on, with an epilogue that seems to exist only to absolve characters that don’t quite deserve it. The empathy is admirable, but one wishes for a touch more restraint, especially in the wake of such an emotionally devastating climax.
  14. Green Book means so well, and admittedly, it just gets by on its leads and its good humor.
  15. Creed 2 is a commendable chapter in the franchise, thriving from a strong commitment to character, mostly thanks to Stallone’s reverence to his own legacy and the new one being created for Jordan.
  16. There’s nothing particularly memorable about Robin Hood even when you’re laughing at it, and that may be one of the saddest fates a movie can meet.
  17. The Christmas Chronicles is a passable enough lark, and may well be on the upper end of the spectrum when it comes to modern cinematic Christmas fare.
  18. Cam
    It’s gripping stuff, especially since Goldhaber and Mazzei map out an endgame that’s maintains an intriguing ambiguity while still providing a definitive conclusion.
  19. The Front Runner is a naively misguided product of panicked, desperate modern times. But perhaps even worse, at least for the type of film it wants to be, it lands somewhere between irrelevant and a woeful misreading of the room.
  20. If you’re going to tackle serious subject matter, maybe don’t run it through tacky fluff that amounts to a fleeting sugar high. Sure, this movie will get all the right oohs and aahs, sighs and sobs — it certainly won over the freebie test audience at my screening, good god — but it won’t linger.
  21. There’s a thoughtful, kid-friendly parable about the hazards of internet fame somewhere in Ralph Breaks the Internet, but its aim is so scattershot that it only emerges in fits and starts.
  22. Good actors can’t make up for narrative inconsistency. Beasts can’t erase the frustration of seeing characters you love behave in ways that make no sense. One can forgive retconning backstory where it doesn’t belong if it feels true to the fictional world you love. That doesn’t happen here.
  23. While The Grinch never rises to the level of a modern Christmas classic, it’s an enjoyable enough holiday diversion with a core message that’s as lovely today as it was when Dr. Seuss first wrote it.
  24. The uneven quality of the vignettes aside, The Ballad of Buster Scruggs is still a suitably Coenesque jaunt through the merciless trails of the American West.
  25. Because it’s Claire Foy’s turn, The Girl in the Spider’s Web cannot honestly be called a colossal waste of time. It’s merely a moderate waste.
  26. Outlaw King is like watching prog versus metal. When it’s prog rock – folksy and wooden ­– it’s at its worst. Muted, draggy, earnest, with wee traces of carefully placed humor or commentary on a bygone era? It’s Moody Blues, and even a little Jethro Tull? Hardly worth putting on, unless you like your history slim and bone-dry. But at its best, it’s heavy metal, with swinging axes and church slayings and all sorts of grim goodies.
  27. For a film that looks this wacky, it’s a shame that The Nutcracker and the Four Realms is ultimately pretty boring.
  28. Boy Erased finds its best stuff when it matches the unabashed earnestness of Jared, and of Hedges’ performance. The film isn’t so much preaching to the converted as begging the ones who aren’t yet to finally come over and stand on the right side of history.
    • 79 Metascore
    • 83 Critic Score
    One critic’s ‘too much’ may be another’s ‘so much to unpack’. But that’s the thing. The style, the lament, the punchy rhythm and breathless momentum of The Other Side may be hefty, but it certainly makes a dent.
  29. When Neville chronicles the failed work of Orson Welles, They’ll Love Me When I’m Dead comes alive with newsreel tabloid verve.

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