We Got This Covered's Scores

For 432 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Amanda Knox
Lowest review score: 20 Solace
Score distribution:
  1. Negative: 28 out of 432
432 movie reviews
  1. Fantastic Beasts: The Crimes of Grindelwald is two-plus overstuffed hours worth of too many characters fighting for screen time that no enchantment can salvage.
  2. While it doesn’t do much to elevate the genre, Halloween does tick each and every box, which should be more than enough to appease your run of the mill fanboy, but scare off anyone with half a brain.
  3. First Man hardly comes close to capturing the overwhelming triumph behind Neil Armstrong’s lunar explorations, though the journey to get there is technologically masterful.
  4. Hellraiser: Judgment is a stuffy police procedural masquerading as a torturous Pinhead franchise entry.
  5. In spite of a momentous directorial debut and performance from Bradley Cooper, Lady Gaga leaves the lasting impression in A Star Is Born, a beautiful production perfectly suited to re-release the superstar as a top-tier performer; she is nothing short of astounding.
  6. Despite a commendably committed performance from Tom Hardy (whether it's a good or bad one will still need further evaluation), Venom's a big, stinking gooey mess of a film.
  7. Luca Guadagnino’s Suspiria will divide fans of the original and those excited for something fresh as a testament to long-form (2+ hour) filmmaking that holds together impressively well.
  8. Feig, who’s been known to conjure up categorical spoofs (Spy, Bridesmaids), throws up Fincher-like curveballs, each one more disturbing than the last, only to strike out in the ninth.
  9. Michael Moore points all 17 of his fingers in all directions during his latest ferocious, if scrambled film, surprisingly avoiding individual attacks and instead convincingly describing what role we all played in this globally-recognized disaster.
  10. Gareth Evans’ Apostle is The Wicker Man, Safe Haven and Silent Hill thrown into a boil that bubbles over during a ruthless third act that certainly delivers if you have the patience.
  11. The Predator guts and slashes its way to gory sci-fi mediocrity, but is further failed by abysmal pacing that loses characters, subplots and interest along the way.
  12. Anna And The Apocalypse is an enthusiastic coming-of-age musical that cares just as much about bellowed heart and soul as it does keeping horror fans entertained.
  13. Scares are often on the generic side (pitch-black doorway, hand reaches out), and while some wild effects work enjoys the zanier side of Hell’s mouth opening up to spit venom across Earth’s surface, it’s missing the masterfully torturous tone that Wan’s universe otherwise aims for.
  14. Let The Corpses Tan is a stunning display of visual seduction and slaughter-first gunplay, if not somewhat distracted by a skeletal script that’s been stripped of all meatiness.
  15. Clinically rigorous and hugely entertaining, The Man from Mo’Wax is a forthright examination of failure and disappointment. There’s not many music documentaries that can touch it.
  16. There are just enough explosions in Mile 22 to keep you awake throughout the almost unbelievable amount of sludge that buries the rest of the film’s trim runtime.
  17. Frankly, it’s heartbreaking to see the Henson name tossed about a project that’s so heartless and so gruesome that the only thing I imagine sticking from it is Phil’s “Silly String.”
  18. The Meg delivers the Statham-versus-giant-shark battle moviegoers are promised, but does so in a way that still manages to be underwhelming.
  19. Spike Lee offers no solution here – his story’s conclusion, in the long run, hardly ends on a positive note – but rather a very, very loud plea that cannot be ignored.
  20. The fuzzy residents of the 100-Acre Wood cutely convert to the real world in Christopher Robin, a mildly entertaining film that'll remind kids and grown-ups alike of the fun that can be had in doing absolutely nothing important.
  21. This time around, Denzel’s “Equalizer” is less of a Robin Hood-like hero for the helpless, and more of a Travis Bickle-like vigilante, shooting his way through a murder caper that has neither the incentive nor the heart of its already forgettable precursor.
  22. Unfriended: Dark Web takes all the most engaging and horrifying techno-horror qualities from Unfriended and wipes the cache disappointingly clean.
  23. Driven by Stanfield’s performance, an intelligent story, and an even more impressive structure, this film is as funny as it is bizarre, and as bizarre as it is clever. It succeeds enough early on that Riley trusts he’ll hold everyone’s attention as he jumps off the deep end.
  24. Mission: Impossible - Fallout is cocked, locked and ready to blow you away with more than just Henry Cavill's forearms.
  25. The First Purge doubles-down on bloody opposition against true-to-life societal fears, but abandons the subtlety needed to prevent Gerard McMurray’s prequel from becoming anything more than hateful retribution.
  26. Ant-Man And The Wasp is the kind of playtime entertainment suited for Scott Lang's better-when-on-a-team personality, loaded with size-shifty sight gags and lower stakes worth Paul Rudd's ensemble stardom.
  27. This beautiful work pays an immaculate tribute to him, illustrating the legacy of a man whose nature transcended the concepts of knowledge, understanding, age and love. Fifteen years after his death, the heroic and criminally under-appreciated efforts of Fred Rogers are finally being celebrated on the big screen in what may very well be the best documentary of the year.
  28. Jurassic World: Fallen Kingdom is boggled insanity of the highest and most enthralling sci-fi order. As exciting and wondrous a summer blockbuster audiences could ask for. You must suspend reality (EVEN FURTHER) and enter a world where dinosaurs have existed for years in order to attain circumstantial nirvana, but if done correctly, an absolute wealth of ceremonious riches await
  29. The fresh cast seems to have just as much fun as Knoxville and his buddies did making Jackass, but with its half-assed story and unusual presentation of the alluring and advertised stunts, Action Point feels half as genuine.
  30. In terms of performance, Freeman generates about all the emotion this nearly one-man show puts out. At first, Andy’s mission is protection and self-reservation, but Freeman captures the process of shifting priorities marvelously, making Andy’s transition from worried improviser to adapted martyr all the more pleasing to experience.

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