Original-Cin's Scores

  • Movies
For 113 reviews, this publication has graded:
  • 71% higher than the average critic
  • 3% same as the average critic
  • 26% lower than the average critic
On average, this publication grades 10.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 74
Highest review score: 100 A Simple Favor
Lowest review score: 25 Tag
Score distribution:
  1. Positive: 84 out of 113
  2. Negative: 5 out of 113
113 movie reviews
  1. Capernaum is a movie with a lot of dramatic ideas and plot-points, worthy of a miniseries at least, squeezed into a two-hour sausage of misery.
  2. Destroyer is all about Kidman as tortured, haggard detective Erin Bell. A single look into those bleary, bloodshot eyes alerts us to the fact that this character has been through the wringer. Destroyer is a forensic study of how Bell got this way. The trick, I suppose, is making us care.
  3. While entertaining, The Upside lacks the original film’s fizzy spark, the prickly charisma of its co-stars, and the tantalizingly sense that this incredible story — which is actually true — happened on a planet we would recognize as our own.
  4. Victoria and Abdul is a beautiful looking costume drama with a dream cast. It may not be much of a surprise that Dame Judi Dench turns in another absolutely beautiful performance. But it is always joy to watch her in action.
  5. What can be said about series director Wes Ball is that he has a flair for noisy gun and air battles, pyro, fights, destruction, pursuit and escape. But it signifies nothing if there is no plausible reason for pretty much anything that happens.
  6. Well-observed and gently amusing.
  7. Ava DuVernay’s beautiful and visually imaginative A Wrinkle In Time is a magical mystery tour for teenage girls. It’s a female empowerment movie that says love triumphs over evil and light trumps darkness. It says that the many teenage girls who believe they’re not good enough can find their strength and beauty, even through their flaws.
  8. The Old Man & The Gun is, on the surface, a low-key, easygoing movie that is funny and charming. But it’s also slightly subversive, nodding to the appeal of the great American anti-hero, a role that Redford played many times in his career.
  9. Let’s just say the film — scripted by Bader’s nephew Daniel Stiepelman with the Justice’s blessing — successfully splits the difference between capturing Ginsburg as a contemporary folk hero and as a fiercely ambitious intellectual competing for footing in an era when mixing a killer martini was the very height of wifely prestige. No one will mistake it for a documentary.
  10. Dazzling.
  11. If you are someone inclined to head to the theatre specifically to see the new Jennifer Lopez rom-com, you will get exactly the movie you hope for. And you will be happy.
  12. A big dumb acid-trip of a super-hero movie, Aquaman is relentless, noisy, entertaining nonsense – particularly in 3D IMAX - as overlong as any of them, but not boring, and as I say, at times trippy.
  13. Mary Poppins Returns is a rare treat. It’s an old fashioned movie musical with an old-fashioned message that works perfectly in the modern world.
  14. In the end, all the sorrow and horror and anger and angst just seem pointless despite Corbet’s stated intention to juxtapose the meaningless against the tragic.
  15. No doubt, there's a certain theme-park appeal to this use of technology to reconstruct a facsimile of the past, but it's shockingly immediate, seeing those old monochrome images of anonymous men in mushroom-cap helmets turned into images of pink-cheeked youth staring back at us through the camera lens.
  16. Saoirse Ronan as Mary and Margot Robbie as Elizabeth offer rich, committed performances and highly passable accents. There’s also a certain thrill in being transported to another very real-feeling world: inside elaborate stone mansions lit only by candles and furnished with stiff but fancy furniture. The costumes, jewelry and makeup, too, are fabulous. But a hard-to-pinpoint pall hangs over Mary Queen of Scots.
  17. At more than two hours, Blaze is a meandering tale of genius and futility, tender, but overlong and wallowing, given that we know how it ends.
  18. [A] crazily imaginative, hilarious and frenetic animated feature that’s practically a palate-cleanser for comic book earnestness.
  19. Thematic issues aside, Eastwood is noted for a high level of economic craft and The Mule is no exception.
  20. Mortal Engines, which is produced by Peter Jackson and written by the team behind the Lord of the Rings films, is grandly, majestically, epically inert, a high-concept fantasy with a wide chasm between the money we see up on the screen and poverty of the story.
  21. As a leading feminist voice in post-War German cinema, Von Trotta’s devotion to Bergman, the archetypal self-absorbed male genius, seems unfashionably but refreshingly forgiving.
  22. The charm and the limitations of this modestly budgeted, good-hearted trifle, set in a middle-class Scottish village, are its youthful energy and anxiousness to please. Along with the mechanically efficient tunes from the team of Roddy Hart and Tommy Reilly, the entire film feels as if it could have been written and produced by a group of bright theatre students.
  23. The movie bridges the traditional Restoration comedy to the political satires of Armando Iannnucci (Veep, The Death of Stalin). Comedy also entwines with tragedy here, and bold touches of absurdism and iconoclastic revisionism.
  24. There’s one illuminating segment in Alexis Bloom’s documentary, Divide and Conquer: The Story of Roger Ailes, which might have made a fascinating stand-alone short doc.
  25. As an impressionistic portrait of the man, it works, mainly because of the intense vulnerability Dafoe brings to the role.
  26. At three hours without much obvious plot, the movie is, no doubt, a bit of a butt-number, though there’s enough wry humour, visual delight, and psychological insight here to more than reward an open-minded viewer.
  27. Border is more resonant than you’d expect, and one of the oddest movies of the year.
  28. The real achievement of Roma is Cuarón’s bold conception of a memory movie, blending childlike detail and adult detachment, and the rich visual and aural design that make this one of the more sensually pleasurable films of the year.
  29. Director Alister Grierson, an Australian with numerous television and feature credits, does a decent job with the crowd and lively ring action though it's not nearly enough to make us forget that Tiger is a movie struggling to punch way above its dramatic weight class.
  30. It’s hard to imagine a lovelier fly-on-the-wall experience than Nothing Like A Dame – a documentary that basically intrudes on a regular, wickedly-funny get-together of four octogenarians who’ve been friends since they were barely more than precocious schoolgirls.

Top Trailers