The Verge's Scores

For 194 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 6.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Dead Slow Ahead
Lowest review score: 0 The Emoji Movie
Score distribution:
  1. Negative: 15 out of 194
194 movie reviews
  1. Mission: Impossible - Fallout merges the franchise’s big-budget spectacle with an utterly ferocious style of action filmmaking that far surpasses what McQuarrie executed in either Rogue Nation or Jack Reacher.
  2. Given how much of the film is spent on watching tiny items grow to improbable size, and huge objects shrink down to the scale of toys, it seems only appropriate that Ant-Man and the Wasp neatly balances its big, serious concerns with its little petty ones. It’s a movie that understands all the variances of scale, and takes the audience along for the ride as they constantly change.
  3. Incredibles 2 is a lighter and more incident-packed adventure. The same characters are running through some of the same emotions but with much less of a sense of weight and impact.
  4. Normally, the creatures lend this series a built-in sense of awe and wonder. Jurassic World: Fallen Kingdom strips that majesty away and turns the focus on the human characters, who are markedly unengaging.
  5. The action sequences are electric; they’re grimy, choppy, and strange. But when the characters talk, the film stretches and slows to a banal cautionary tale, almost as if Whannell was making the movie as a homework assignment, having a ton of fun with the aesthetics and the fight scenes, then suddenly remembering he was supposed to incorporate some “themes.”
  6. Solo is a swashbuckling success, a space adventure that pays homage to the DNA of the original films while carving out its own unique space in the canon. It’s a sheer delight, but it also has the courage to explore the darker aspects of a character who could have all too easily been polished to an inoffensive, family-friendly Disney sheen.
  7. The result isn't as novel as the original, or as effortlessly kinetic, but it is nevertheless a joke-packed action film that continues to deliver on the character's potential, while opening up the door to an even bigger series of sarcastic superhero adventures.
  8. Given how many zombie stories are basically elaborate wish-fulfillment video games, about blowing away targets, hoarding supplies, and finding a safe spot, Cargo’s quiet acknowledgement that suicide might be a kind option for the infected feels revelatory and even dangerous.
  9. In the end, it doesn’t feel like Jonathan fully commits to its own premise.
  10. After years of movies where even the most mediocre heroes appeared to be invulnerable and indomitable, it’s an arresting jolt — and exactly the film the franchise needed.
  11. Too many films that rely on secrets stop being compelling once those secrets emerge. Marrowbone just becomes more compelling. It’s one of the year’s most immaculately crafted movies, and it’s the kind of story that keeps dodging convention right up to the final shot. It fits neatly into the Gothic genre, but it innovates within it at the same time.
  12. The filmmakers try to innovate largely by making the movie as toothless and easily digestable as possible. Nothing in the film is real enough to care about past the moment, or serious enough to trouble audience’s sleep. Maybe in a world that’s already full of real-life disasters, it’s innovative enough to make monumental destruction this much dumb, lightweight fun.
  13. The Endless rapidly develops from a mysterious, elliptical story about cult survivors and strained relationships into a much larger and stranger movie, essentially the Aliens to Resolution’s original Alien.
  14. For viewers who are still impressed by CGI destruction and thrilled by the sight of realistic mechas in action, Uprising is yet another escalation in scale, staged creatively and with apparent love for the old-school kaiju genre.
  15. Unfriended: Dark Web has enough snark, shock, and disregard for anyone’s emotional comfort to briefly confuse viewers into thinking it’s pulled off something worthwhile. But when it’s done, it’s easy to walk outside feeling like you’ve spent 90 minutes doing nothing at all.
  16. Vikander doesn’t do much with a character whose chief attribute is earnestness, but Tomb Raider improves once it gets to the island and lets the derring-do take over.
  17. The sheer dynamism and energy of the movie are compelling, even when the character drama isn’t.
    • 82 Metascore
    • 85 Critic Score
    The film hits all the necessary beats for a straightforward horror film in an eerie post-apocalyptic setting. But it’s more effective as a portrait of four people who have constructed a deceptively peaceful life under the constant, inescapable threat of death.
  18. It’s a pretty take on the story, but it’s also a frustratingly safe and squishy one. It’s infinitely well-intentioned, full of warm self-affirmation and positivity, and absolutely nothing about it feels emotionally authentic enough to drive those messages home.
  19. Annihilation is a portentous movie, and a cerebral one. It’s gorgeous and immersive, but distancing. It’s exciting more in its sheer ambition and its distinctiveness than in its actual action.
  20. Hereditary is a hell of an intense ride, made for a crowd that enjoys heart-clutching adrenaline spikes. The cast is unerringly terrific.
  21. It’s gripping, funny, and full of spectacle, but it also feels like a turning point, one where the studio has finally recognized that its movies can be about more than just selling the next installment. In the process, the studio has ended up with one of the most enthralling entries in its entire universe.
  22. Unlike the first two films in the series, Cloverfield Paradox doesn’t stand on its own as a horror movie, or even as a standalone story. There’s no central idea, no governing principle, and more to the point, virtually nothing frightening about it. No one involved in creating this movie seemed to have any clue what kind of tale it’s telling from one minute to the next.
  23. Bright is a series of disconnected action vignettes that work as standalone sequences, but don’t hang together in any kind of meaningful way. It’s impossible to not think of Suicide Squad’s similar failings as Bright barrels from one dark, noisy scene to the next.
  24. Audiences will likely come away from The Last Jedi with a lot of complaints and questions. But they’re at least likely to feel they’re in the hands of someone who cares about the series as much as they do, someone who loves its history, but sees the wide-open future ahead of it as well.
  25. Because the film goes in so many tonal and narrative directions, it feels like a grab bag anyone can reach into and fish around in for something to their personal tastes, from dramatic themes to offhand banter, from mindless pummel-fests to thoughtful conversations about heroic responsibility. Justice League isn’t an entirely coherent film, but it’s certainly an egalitarian one.
  26. At its best, My Friend Dahmer makes some weak attempts to reckon with virulent homophobia in an Ohio suburb in the late ‘70s. But for the most part, it’s just a movie about the sick thrill of watching someone become progressively stranger and then a murderer.
  27. Newness is a modern love story, where selfies and LTE play a role, but its sweet, wildly optimistic final minutes are something else entirely.
    • 78 Metascore
    • 88 Critic Score
    A Silent Voice didn’t necessarily demand to be an animated feature. But because KyoAni’s creators are able to put so much expressiveness into the characters, it communicates much of what they’re feeling without words.
  28. On the surface, American Satan is a horror movie about how the devil is bad, and entering into vague contracts with him will not make you happy. I’m not sure what audiences are supposed to get out of it otherwise.

Top Trailers