The Verge's Scores

For 213 reviews, this publication has graded:
  • 66% higher than the average critic
  • 4% same as the average critic
  • 30% 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: 69
Highest review score: 100 Dead Slow Ahead
Lowest review score: 0 The Emoji Movie
Score distribution:
  1. Negative: 17 out of 213
213 movie reviews
  1. 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.
  2. 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.
  3. It’s frustrating that a movie that seems so improbable actually got made, only to fall so incredibly short.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. It’s a train wreck of a movie, mixing and matching wildly dissonant tones, bizarre plot contrivances, and a truly unique lead performance.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.”
  22. 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.
  23. 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.
  24. 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.
  25. In the end, it doesn’t feel like Jonathan fully commits to its own premise.
  26. 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.
  27. 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.

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