Original-Cin's Scores

  • Movies
For 46 reviews, this publication has graded:
  • 69% higher than the average critic
  • 0% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 7.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Sorry to Bother You
Lowest review score: 25 Little Italy
Score distribution:
  1. Positive: 33 out of 46
  2. Negative: 3 out of 46
46 movie reviews
  1. Feig has done a superb job of building a compelling story from angular bits that shouldn’t fit together but do while making pointed commentary on everything from gender roles to social media.
  2. Here’s the thing: it’s hard to care about anyone presented on screen. Sorry but… they’re just not very nice. Nor are they fascinating criminal masterminds pulling off complex, game-changing capers.
  3. Credit the towering talents of Emma Thompson and Stanley Tucci with redeeming The Children Act, a film oddly thin on story despite coming from the marvelous Ian McEwan, who adapted his own novel for the screen but somehow failed to capture the surge of the source material.
  4. Director/co-writer Shane Black, indulging his tendency towards glibness, brings an outright comic touch that turns the latest interaction between humans and these dreads-wearing extraterrestrial big-game hunters, into something of a bloody romp – as inappropriate as that sounds (and often is).
  5. I will give The Nun this, it has an utterly outrageous ending that pretty much brought the house down at the advance screening I attended.
  6. The Last Suit has its narrative flaws and leaps of faith. But the sheer force of its central character’s untethered voyage of discovery – and the acting behind it - overcomes all.
  7. The nut of the movie, the thing I return to again and again when thinking about it, is the issue of how much the odds were stacked against Kusama. Kusama-Infinity is a perfect movie for the #metoo era: A glimpse into the life of a woman with a vision who had the misfortune of being born at a time when even what was arguably the most progressive culture felt that it was just fine to ignore a woman’s voice.
  8. Yes, it’s a formula and we’ve been here before. But the characters are engaging, the performances elevate the material, and the various dilemmas of each gives this more layers than you might expect.
  9. A kind of gothic, ghostly mash-up of Downton Abbey and Grey Gardens, The Little Stranger is as mannered, tattered and morose as that marriage of premises suggests.
  10. It’s awful by any metric you apply.
  11. One of the pleasures of Support the Girls is that it explores the constant fender-benders of sex, race, class, and age without ever coming off as preachy or lecturing.
  12. Even as a reboot, it remains both scenically beautiful and an ordeal at the same time.
  13. As fresh as the female perspective is, as Skate Kitchen circles and swoops through the Manhattan twilight toward its conclusion, there is a sense of missed potential, that the film could have been much richer than it is.
  14. Alpha aims to be not just a story but a transporting visual experience, which is one area where it over-reaches.
  15. Nicchiarelli’s film makes a case that Nico’s instability and bleakness was no pose.
  16. There’s enough promise in The Happytime Murders for it to possibly work as a short-lived, gimmicky Comedy Network series. But the effort that’s put into stretching this gag over the length of a feature film is more painful than funny.
  17. The most compelling performance here belongs to the Indonesian actor and martial artist Iko Uwais, who became famous in The Raid movies. Here, he plays the “asset” who must be taken out of the country. Uwais’ hand-and-foot battles are genuinely explosive and when he’s not fighting, he doesn’t say much, which is a welcome relief from all the rest of the babble.
  18. The characters of Rachel and Nick are charming but their relationship feels backgrounded by numbing amounts of money porn, stilted melodrama, and often-strained comedy.
  19. City-dwellers may go their entire lives without realizing that the greatest movie screen of all is above their heads, telling billions of stories.
  20. Dog Days moves along, mostly pleasantly and at its worst is a somewhat-forced good time.
  21. Audiences looking for a so-bad-its-good bit of kitsch catharsis will likely be let down. The Meh – sorry, The Meg – is so calculatedly flattened out for international markets, especially its Chinese financiers, that even the dialogue feels as though it’s in translation.
  22. As a movie for adults, Christopher Robin has rewards, but needn’t have been so antic. The schmaltz would have sufficed. As a movie for children, well…
  23. Reiner’s attempt to create Spotlight-like docudrama of newsroom courage and stoke fresh outrage about government lies is undermined by clunky old-fashioned filmmaking and Joey Harstone’s exposition-clotted script.
  24. Blindspotting is a first film, a busy jumble of thoughts and urgent feelings: The humour is sometimes corny, the surreal fantasies strained and the dramatization of racial privilege unsubtle. Yet the level of ambition here, the commitment to try to say so much, is fresh and exciting.
  25. For a film where every single scene is rigidly contained within a screen — framed by an iPhone FaceTime chat, a laptop exchange, TV image, home movie or security camera surveillance — Searching has a surprising sense of momentum.
  26. It’s hard to imagine The Darkest Minds becoming the franchise it was intended to be. The plot is murky confusing and unengaging, and the entire genre may just be worn out by now.
  27. The movie that can contain McKinnon, or the movie where she’s willing to be contained, has yet to be made.
  28. Given all the on-screen risk-taking, Mission: Impossible - Fallout plays it pretty safe. What you get is essentially an action movies greatest hits package.
  29. In both its light and dark phases, Three Identical Strangers comes across as almost too calculatedly entertaining, as Wardle carefully deals out the critical information, with the odd red herring, for maximum effect. In its defense, the film is consistently compassionate and fair-minded. Ultimately, the film confirms its investigative legitimacy by refusing to offer easy answers.
  30. Crucially, Macdonald (see also The Last King of Scotland, Marley, State of Play) doesn’t stint on the train-wreck aspects of her career: the infamous Diane Sawyer interview, disastrous, flabby late-career performances, and yes, those tabloid images of a gaunt, wild-eyed, and clearly tripping Houston. Whether audiences feel greater insight into her dreams and demons as a result is somewhat less certain.

Top Trailers