Consequence of Sound's Scores

For 695 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 13 Hours: The Secret Soldiers of Benghazi
Score distribution:
  1. Negative: 95 out of 695
695 movie reviews
  1. Shyamalan comes off so smug by the end of this movie that it’s insufferable — and also kind of jarring. It’s as if he’s learned nothing from his past and still believes he’s pulling a quick one on his audience.
  2. It’s a gripping, fascinating watch, an elegantly assembled portrait of the end result of influencer culture and late-stage capitalism – the blind leading the blind into an empty, insubstantial image of success and luxury that turns out to be nothing but smoke.
  3. Although its leads find the odd moment of charm together, even Kidman in what’s somehow the worst-shaded part of all three, The Upside fumbles far too often when it attempts to enlighten or edify its audience.
  4. It’s also not all that good, even if it’s hardly the kind of “bad” that most would get riled about. Escape Room is cut from one of Hollywood’s most familiar cloths: the “mall horror” movie.
  5. Director John Crowley has fashioned a film that feels like a natural evolution from the Victorian novel, one in which the circumstances are deceptively modern even if everything else feels somewhat old-fashioned.
  6. When people talk about Hollywood movies feeling more and more like product, this is what they’re driving at.
  7. There’s a fundamental problem here, one of conception, not of execution.
  8. There’s not an ounce of wasted motion to be found throughout Cold War. Pawlikowski moves at a fleet pace, trusting in his audience to fill in the gaps that the film’s understated storytelling leaves along the way.
  9. Marwen is too much, not enough, and yet still deeply watchable. It’s admirable for the wildly different approaches it takes. Only a stylist like Zemeckis could try something like this. Take a real man’s witty, real-life therapy-based photography and attempt to spin it into a mo-cap circus with every genre tool he can think of.
  10. It doesn’t reinvent the wheel, but Bumblebee feels revolutionary within the confines of a long-running franchise like Transformers.
  11. That said, Marshall is particularly well-served by Blunt and Miranda, who seem to be having such a good time together — both as characters, and as two movie starts making a sequel to a freaking classic in really cool getups — that even when floating through the sky on the tail of a balloon looks kind of dull, their charms are nearly impossible to resist.
  12. The problem is that, unlike The Big Short, he can’t seem to wrestle with the drama, and when Vice takes a more dramatic turn towards its manic third act, McKay’s preaching winds up feeling like Oliver Stone, Jr. All of those meta, tongue-in-cheek quirks start becoming self righteous and smug when they used to be clever and decisive. It’s a damn shame
  13. The Mule is a functional take on capitalism, work-life balance, and the creeping, overlong process that is aging. The tense moments click.
  14. As with any number of popular YA novels-turned-feature films, Mortal Engines has a wealth of possibilities and curious ideas at its disposal. Instead, it tears past them in pursuit of some of the subgenre’s most exhausted narrative tropes, chewing up everything engaging as it grinds along.
  15. Once Upon a Deadpool doesn’t offer nearly enough new gags to justify its cheeky family-cut re-release. Sure, the bits they add are great – Fred Savage’s hostage situation with Deadpool should have been a cool third of the film – but in the end, it’s a retread as limp as one of Wade Wilson’s re-growing limbs.
  16. Aquaman is a pure piece of bright, ridiculous spectacle, hammering its Saturday morning cartoon sensibilities down its audience’s throat with a huge, cheesy grin on its face.
  17. Mowgli is not entirely recommendable, but it’s not a total bust either.
  18. It’s vital in the sense that there aren’t enough third-party chronicles of this undeniably potent force in the online world, but it’s sloppy in how safe it feels — it’s easy to imagine the stars agreeing to speak so long as certain topics were either breezed over or avoided entirely.
  19. Vox Lux wants to be everything and winds up being nothing. By the end, when the whole thing devolves into a dubious concert film, and we’re watching fake fans go crazy over fake songs, there’s this uncanny valley of universal bliss that’s just achingly hollow.
  20. If you walk into Mary Queen of Scots looking to be dazzled by some great performances and rich art direction, you’ll walk out satisfied, no question. If you want something more than that, it’s likely the reaction will be more mixed.
  21. There’s a breathless sense of discovery and play that makes the film seem new, even as it’s tap-dancing through the imprints of so many sci-fi stories throughout the years. Simply put, superhero movies don’t often carry this sense of possibility anymore.
  22. There’s a rich, hilarious novelty to the film’s juxtaposition of glittering pop and ultraviolence, but by virtue of the clear disconnect between story and song, that novelty quickly wears thin.
  23. The House That Jack Built is an audacious and divisive film, sure, but only because of the context surrounding the film. The gore! The violence! The subject material! Oh my! At its core, though, von Trier has actually assembled his most accessible work to date.
  24. Like the women who populate its halls, it might be easy to see The Favourite as only one thing, to reduce it to one quality, but it contains multitudes. And like its three central characters, you underestimate it at your peril.
  25. It’s moving stuff, even if Kore-eda threatens to dilute his themes by overindulging in them. Shoplifters overstays its welcome somewhat as the third act rolls on, with an epilogue that seems to exist only to absolve characters that don’t quite deserve it. The empathy is admirable, but one wishes for a touch more restraint, especially in the wake of such an emotionally devastating climax.
  26. Green Book means so well, and admittedly, it just gets by on its leads and its good humor.
  27. Creed 2 is a commendable chapter in the franchise, thriving from a strong commitment to character, mostly thanks to Stallone’s reverence to his own legacy and the new one being created for Jordan.
  28. There’s nothing particularly memorable about Robin Hood even when you’re laughing at it, and that may be one of the saddest fates a movie can meet.
  29. The Christmas Chronicles is a passable enough lark, and may well be on the upper end of the spectrum when it comes to modern cinematic Christmas fare.
  30. Cam
    It’s gripping stuff, especially since Goldhaber and Mazzei map out an endgame that’s maintains an intriguing ambiguity while still providing a definitive conclusion.

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