Consequence of Sound's Scores

For 641 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Dunkirk
Lowest review score: 0 Bad Santa 2
Score distribution:
  1. Negative: 86 out of 641
641 movie reviews
  1. What They Had is an indie drama of a familiar cut, delivered so well that you’ll forgive its smaller inconsistencies.
  2. This is punishing filmmaking, both in its sense of overwhelming despair and in its all-too-physical violence, but what sets Apostle apart from being an especially well-shot exploitation feature is its interest in the ideals behind the violence we perform on one another.
  3. While it deals in the traditional melodramatics, straight from the ‘ol Hollywood emotion factory, Tillman Jr.’s aim seems true. The Hate U Give feels so Right Damn Now that you could leave the theater and see its stories on the nightly news.
  4. Gyllenhaal gives one of the most staggering performances of her career, and Colangelo’s deft command of tone keeps the lengths to which Lisa will go to stay close to Jimmy’s perceived greatness close to the chest right up to the end.
  5. The Thanksgiving table is a perfect battleground for these heavily entrenched political lines, with Barinholtz’s smart, nuanced script pulling no punches. While the satire definitely loses some of its bite in its wild, unpredictable closer, the film still takes Barinholtz and Haddish to fascinating places as performers – neither of them have been as intense or vulnerable onscreen to date.
  6. 22 July is a thoughtful, gutting achievement that you’ll likely never want to watch again. Greengrass’ approach here is graceful and deeply resonant, but it’s undoubtedly draining, especially considering you still have roughly two hours to go after the shootings that ignite the narrative
  7. As a fish-out-of-water comedy, it’s effectively funny more often than it isn’t, and as an ode to the unlikely communities that arise around black metal, it’s entirely sincere in its intentions.
  8. Despite its carefully measured comedic voice and the detail with which it depicts the IVF process, the film never quite manages to feel like something completely groundbreaking.
  9. To be honest, Venom’s almost worth watching for Hardy’s bizarre accent and whirling-dervish mania alone, but it’s a shame he’s not surrounded by a better, more exciting film.
  10. A Star is Born isn’t a new love story, or even an especially unique one. But it’s a traditional love story told supremely well, and sometimes that’s exactly what audiences go to the movies to see.
  11. The problem is that something never adds up to much of anything. Even thematically, the whole picture feels all over the place, oscillating hazily between half-baked meditations on man vs. nature and unfinished portraits of family values. Even so, Saulnier’s scope and visual endurance is admirable, to say the least, and it’s clear that he could do something this brazen eventually with a much stronger script.
  12. There’s little camp or gimmickry to be found, which is refreshing for a sub-genre whose films so often resort to bad jokes and kitsch violence.
  13. Its aesthetics alone are enough to sustain interest over its two-and-a-half hour runtime, but its hefty length also leaves a lot to be desired in its messaging, if only because Mitchell actually does begin to flirt with a grander purpose at a certain point in the film.
  14. Though not as unpredictable as the preceding two hours (and nowhere close to the dizzying final act of Cabin In the Woods), the resolution is still a lot of fun, straight out of a thrilling dime-store novel you’d keep by your bedside table.
  15. The movie’s merely the latest A-list comedy of this sort, is happy to live in the middle, and yet it frustratingly outwears its welcome because of a lack of creativity and sloppy structure.
  16. There’s a strangeness to certain passages of Sisters that bolsters it through its seedy saloons and cacophonous firefights, and it constitutes the best the film has to offer.
  17. Lowery is content to live with these characters and show them to his audiences in hopes that they, too, will fall in love with them, and he succeeds mightily.
  18. By the time we finally do get to the blood and guts, the filmmakers have laid such an artful foundation that the viscera is just another part of Suspiria‘s hypnotic modern dance.
  19. Whether the result of the film’s brisk 90-minute runtime, or a lack of desire to investigate some of its subject’s greater desires and fears, Love, Gilda feels breezy to a fault.
  20. I might not be able to tell you what exactly Assassination Nation is, but the one thing I can confidently say is that it’s not easy to forget or dismiss.
  21. Though Life Itself is neither good nor “so bad it’s good,” it’s also such a bizarre, inexplicable film that it’s almost worth seeking out just to experience it for yourself. For those who want to watch a worthwhile family melodrama, however, just stick with This Is Us.
  22. It is, for all of its action, and unexpected hints of the underbelly of humanity, and bodily fluids, actually quite a languid, melancholy film. It doesn’t shock its viewers, nor does Denis seem to have any interest in doing so. It quietly, meticulously unmoors them instead.
  23. Mandy is destined to live forever as a cult favorite, but what’s going to set it apart from so many others is the way in which Cosmatos sustains the emotional stakes of Red’s quest through the entire film.
  24. If Double Indemnity were a hangout movie, this would be its sequel. It’s delicious.
  25. As a writer and director, Hill demonstrates an endearing and encouraging empathy for his characters, crafting a portrait of adolescence that allows every emotion and every decision — from the most relatable at any age to the most boneheaded — to exist without irony, judgement, or condescension.
  26. White Boy Rick is a collection of interesting enough scenes in desperate need of a more cohesive framework.
  27. The way that Chazelle films the inside of a cockpit (claustrophobic, sensorily overwhelming, fraught with potential danger) and space (stark, haunting, stunning) are both testaments to what’s possible with the latest advancements in technology and vision in filmmaking. That said, it’s hard not to wonder why this particular film, as well-crafted as it is, was made now.
  28. Lizzie isn’t exactly an exciting film, but it’s absolutely a compelling one. Much of that, again, emerges from Sevigny’s work, who finds the notes of delicacy that the film around her occasionally lacks.
  29. Roma is both visually and emotionally arresting, grandiose and intensely intimate all at once.
  30. To watch it is to open a pizza box that’s been jostled a few too many times. Inside, the cheese clings to the cardboard, sauce splashes against the sides, and pepperonis drip with grease. It might be sloppy, but you’ll be damned if it don’t still taste good.

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