The Verge's Scores

For 224 reviews, this publication has graded:
  • 68% higher than the average critic
  • 4% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 5.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Son of Saul
Lowest review score: 0 The Emoji Movie
Score distribution:
  1. Negative: 18 out of 224
224 movie reviews
  1. The utter stupidity of Replicas sometimes makes it feel almost daring. It goes to some dark, counterintuitive places out of a seeming obliviousness to both what science fiction audiences might want to see, and how actual people might behave.
  2. It’s both a calculated attempt to recapture some of the emotional magic of his successes, and a clinical analysis of how exactly humanistic but effects-driven filmmaking is supposed to work. These qualities make it fascinating, but ineffectual as a narrative — or even as a demo reel. Zemeckis seems to think he’s showing heart. Instead, he’s messily dissecting it.
  3. It isn’t a flawless movie, and it nearly descends into self-parody at times, but after a decade of Bay’s rock-’em sock-’em battles, Bumblebee nevertheless comes across like a mini-revelation: Transformers movies don’t need to be terrible.
    • 55 Metascore
    • 70 Critic Score
    There’s a level of self-awareness in Aquaman’s more grandiose images and plot movements that’s certainly been missing from previous DC movies. The story is so deliberately corny that it’s never really moving, no matter how much it reaches in the direction of emotion.
  4. Cam
    Cam focuses less on the real ways technology can be weaponized, and more on how vulnerable people can feel when their online identities are ripped away from them.
  5. Spider-Man: Into the Spider-Verse is a raucous, smart, self-referential adventure. The comics-inspired visuals are stunning, and the emotional coming-of-age story is relevant and inspiring, even as it acknowledges the many Spider-Man movies that have come before it.
  6. The film hinges on Sophie Thatcher’s performance as Cee. In her feature-film debut, she brings a combination of determination and youthful naïveté to her performance that is essential to the entire movie working.
  7. It’s big, nerve-wracking, and utterly ridiculous at times — but it is a hell of a lot of fun along the way.
  8. Where the original film poked fun at games, this time, the subject of critique is the company’s own legacy. And it’s a smarter, more entertaining film for it.
  9. For the serious fans who this series is meant for, the promise of at least six more hours of Fantastic Beasts action likely means a lot more thrilling beasts, barriers, and beats to explore. Everyone else may find that all the little personal bits of character business and frantic complications aren’t much of a substitute for a clear and compelling plot with a single meaningful protagonist.
  10. The result is unlikely to be as influential as Argento’s movie, and it will test some viewers’ patience, but it’s still a bold, hypnotic work, an example of the richness that today’s generation of filmmakers are bringing to the horror genre.
  11. Christopher Robin doesn’t just use nostalgia as a salve; it uses it as a way to mourn things that we’ve lost in our lives and as a way to unpack how our actions can hurt those around us. It’s a feel-good movie that really doesn’t think there’s a whole lot to feel good about much of the time.
  12. Where Stranger Things goes for subtle, Summer goes for on-the-nose. Where the Netflix show offers nuanced, empathetic characters, this film gives us cardboard cutouts with performances to match.
  13. It’s frustrating that a movie that seems so improbable actually got made, only to fall so incredibly short.
  14. The Predator comes across like it’s too timid to fully commit in any one direction, perhaps for fear of alienating some potential segment of the fanbase, and ends up feeling like the least inspiring combination of all possible elements instead.
  15. The 2018 Halloween isn’t an entirely successful film, and it won’t provide an easy template for a new generation of revitalized slasher flicks. But it does serve as a fitting coda to a story that began 40 years ago.
  16. It’s a strong film, directed with confidence and a trust that the audience will be able to keep up, no matter how convoluted the narrative becomes.
  17. It’s a breathtaking piece of filmmaking that’s filled with some of the most intense portrayals of spaceflight ever put on-screen. But for all its technical wonder, First Man’s focus on Armstrong’s relentless stoicism ends up feeling more like a hindrance than a revelation. It’s an epic, ambitious film, but it ends just shy of true greatness.
  18. Cooper’s A Star is Born is unquestionably a film born out of our current era and modern struggles with addiction. In that way, it serves as a potent reminder that even the most familiar stories can be used to examine the issues and concerns of a given moment.
  19. It’s a train wreck of a movie, mixing and matching wildly dissonant tones, bizarre plot contrivances, and a truly unique lead performance.
  20. The siblings address their family through a Wes Anderson lens, with a tone so playful and visually poetic that it drops into surrealism. It feels like a fresh new approach to an old genre — a willingness to not just embrace the subjectivity of family documentaries, but to charge into it full-bore.
  21. The book is a charmingly quaint, deeply eerie supernatural mystery about grief, necromancy, and the apocalypse. The movie version is a shrieking CGI carnival full of poop jokes and barfing pumpkins.
  22. This is a film about the wilds — internal and external — and Saulnier shoots both the natural and the human side of the story with his usual sharp instincts for startling and engaging images.
  23. In a world packed with information, it’s outright exciting to know so little about where a story is going, or how far it’s willing to go to get there.
  24. Outlaw King has plenty of the right pieces in play to make this kind of personally enriched story possible, but compared to Mackenzie’s best work, it’s plodding and artless.
  25. The film makes a strong argument for the value of artistry in horror. Stark colors and an active camera, chasing or leading the characters, give the whole film a sense of intensity and dynamism.
  26. While several of the characters seem to be making obvious choices for obvious reasons, as the story unfolds, the script gets progressively deeper into their psyches.
    • 67 Metascore
    • 70 Critic Score
    Age of Rage is most effective not at “explaining” the alt-right, but at providing a snapshot of it, alongside its anti-fascist opposition.
    • 62 Metascore
    • 58 Critic Score
    Do You Trust This Computer? is defensible in some ways. It’s engaging, imaginative, and easy to watch, and it brings attention to a subject that’s going to have real and important effects on all our lives. But it sacrifices too much complexity and detail to achieve this, and it’s more misleading than informative.
    • 39 Metascore
    • 30 Critic Score
    Instead of building on its most pertinent themes — or on any themes — The Darkest Minds wanders around haplessly in a fog of tired tropes and unmotivated bits of plot. It has neither inspiration nor purpose, and it eventually, almost literally, effervesces into blank irrelevance.

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