TheWrap's Scores

  • Movies
For 1,413 reviews, this publication has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Amazing Grace
Lowest review score: 0 My All American
Score distribution:
1413 movie reviews
  1. Egg
    There is truth in this story, even if the ending becomes unwieldy.
  2. The Kid Who Would Be King is a charming story of fantasy, pop-culture references and myth-making. It’s a movie with the playful camaraderie of “Goonies” and a few elements from ’80s sagas — like “Labyrinth,” “E.T.: The Extra-Terrestrial,” “The NeverEnding Story” and “Legend” — where young people go on character-building adventures.
  3. The chief distinction of Replicas is how detached it often is from the expected sense of words and images.
  4. Putting a dog in crisis might seem like an easy way to create a great story, but in a family film, featuring a helpless canine in constant peril plays as emotionally manipulative and, frankly, slightly traumatizing. A Dog’s Way Home is a joyless jaunt that offers an adorable canine star and not much else.
  5. Performances aside, Glass is a pretty mixed bag of exposition-filled dull moments and pedantic dialogue.
    • 46 Metascore
    • 50 Critic Score
    For what it’s worth, The Upside is exactly what you think it is: the latest Hollywood effort that aims to show that a black man and a white man with seemingly nothing in common can see past their differences and develop a mutual friendship. It’s just as pat and basic as it looks and sounds.
  6. Homelessness among military veterans is a noble subject for a filmmaker to take on. So it deserves a better vehicle than Sgt. Will Gardner, writer-director Max Martini’s clumsy and sometimes downright laughable portrayal of an injured Iraq war vet.
  7. Caro’s ability to localize what might feel broad shines through, even though he is operating within set storytelling boundaries.
  8. Danluck (“North of South, West of East”) gets us halfway there, with a solid cast and crew, an apt depiction of emotional exhaustion, and a heroine we want to root for in a strange setting we’re ready to embrace. But she floats too ineffectually between dream and nightmare, never settling on one or committing to the other.
  9. It’s a movie about escape rooms that literally kill you, and if you’re willing to buy into that premise, it’s about as good as a movie with that premise could probably be. So, hey, 2019 is looking up.
  10. As DeBlois engineers this tale towards an expectedly exciting and poignant conclusion, one realizes how well that cleverly misdirecting title How to Train Your Dragon has morphed from literal to figurative, from being about command and obeisance to handling the turmoil within.
  11. Coroners of comic failure will find much to uncover in the corpse of Holmes & Watson, a thoroughly tedious and never-amusing spoof of Arthur Conan Doyle’s legendary detective.
  12. It’s hard to say whether Branagh is concerned about getting things wrong, or of being disrespectful. But he never finds the freedom he’s unlocked so often in Shakespeare’s own works. His ambition is honorable, but without substance, it becomes merely the shadow of a dream.
  13. Despite the film’s needlessly fractured structure and a relentlessly grim story, Kidman and Kusama seem to be speaking the same language, in quieter moments illuminating not just the faults of the protagonist but also the faults of every tragic hard-boiled detective in cinematic history.
  14. It feels like a confused puppy, caught between a stale script and a very confused storyline that frequently loses focus.
    • 40 Metascore
    • 50 Critic Score
    Some parts of Marwen just seem empty, and while the filmmakers and Carell earn praise for tackling trauma through animation, the film ultimately has no real impact.
    • 61 Metascore
    • 20 Critic Score
    Where is the joke here, aside from Bale acting as though he’s in a serious, dramatic movie in which he goes Method by adding on pounds and grunting his way through a half-baked performance? This is neither funny nor insightful.
  15. The House That Jack Built is kind of a bore. As much as von Trier loves to push our buttons with graphic imagery, he also wants to get under our skin by talking, talking, talking. And while the gore got the headlines, the talk is what sinks the movie.
  16. This was, undeniably, a risky proposition; no one wants to airbrush history. But by thoughtfully employing cutting-edge technology, Jackson has instead created an essential portal connecting audiences of the present to his subjects in the past.
  17. Days after watching the movie, I still have some reservations about how abuse is shown in the film, but it’s hauntingly effective. I haven’t been able to shake those images since.
  18. This is a film worth grappling with, even if Baldwin’s own talent has a diva-like way of pulling the focus back to his book and away from what we are seeing on the screen.
  19. Reynolds has this drily ironic fourth-wall business down pat, and Savage makes for an entertaining foil.
  20. The Mule may not always stand with his most resonant work, at times betraying the awkwardness of someone set in his grizzled ways. But Eastwood’s tilled enough filmmaking soil over the years to know that the same ground can produce daylilies or contraband and that the most involving movies at least try to harvest both.
  21. In its modest efforts, That Way Madness Lies embraces a kind of sensitive nuance you don’t always see in depictions of mental illness in the movies.
  22. There’s probably no real reason for Mary Poppins Returns to exist at all, but now that it’s here, it does at least find some moments of delight even as it travels a familiar path.
  23. It’s a weird and wonderful superhero adventure that strives — and almost succeeds — to be the most epic superhero movie ever made.
  24. Bumblebee is, again and easily, the best “Transformers” movie. Heck, it’s probably the only genuinely good “Transformers” movie, with nary a caveat to be found. But it’s also a lively and earnest 1980s nostalgia trip, made with affection for the era and its characters and its soundtracks and its storytelling styles and, yes, even its toys.
  25. The problem with The Marriage, a well-meaning but structurally lopsided first feature from Yugoslavian director Blerta Zeqiri, is that the marriage plot from the title is so much less interesting than the love plot at its core.
  26. A big heart and strong cast go a long way towards elevating its prosaic approach.
  27. If you’re looking for a quick medicinal shot of how we got to Trump in the White House, the bracing “Divide and Conquer” feels like one of the more alarming civics courses you’ll ever take.

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