Thom Ernst

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Original-Cin
For 241 reviews, this critic has graded:
  • 74% higher than the average critic
  • 7% same as the average critic
  • 19% lower than the average critic
On average, this critic grades 7.2 points higher than other critics. (0-100 point scale)

Thom Ernst's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Agnes
Lowest review score: 16 Nemesis
Score distribution:
  1. Positive: 172 out of 241
  2. Mixed: 65 out of 241
  3. Negative: 4 out of 241
241 movie reviews
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    • 47 Metascore
    • 83 Thom Ernst
    Boy Kills World
    Mohr appears to be in control even when the film takes wild swipes from the absurd to the dramatic. Still, Boy Kills World works.
    • 47 Metascore
    • 83 Thom Ernst
    Until Dawn
    Until Dawn is a gleeful reimaging of the classic slasher film, modifying the tropes enough to turn the familiar into something fresh.
    • 46 Metascore
    • 75 Thom Ernst
    Medieval
    The violence in Medieval is fast, frequent and fierce and could possibly be the film's biggest draw. History might be the film's initial hook, but it's the movie's grisly depictions of military violence that the film will likely be remembered.
    • 46 Metascore
    • 75 Thom Ernst
    Exit Plan
    Exit Plan works. At times hallucinogenic; at times tranquil. Despite a growing consensus that the film is undermined by its determined and plodding pace, it is by no means ineffective.
    • 46 Metascore
    • 42 Thom Ernst
    Black Water: Abyss
    Black Water is an entertaining enough film, although one based on an overused premise that’s been done better.
    • 45 Metascore
    • 50 Thom Ernst
    Uncharted
    Uncharted once again confirms my belief that video games make for bad to mediocre movies. At least Uncharted scrounges up enough fortitude to be mediocre.
    • 45 Metascore
    • 50 Thom Ernst
    Insidious: The Red Door
    There are enough dream sequences infiltrating the action to confuse even devoted fans, while Insidious newbies and part-time dabblers are left to wonder when Freddy Krueger might arrive on scene. Wilson’s first stab at direction is not entirely a failure, but neither does he push the franchise to any new heights.
    • 44 Metascore
    • 50 Thom Ernst
    Willy's Wonderland
    Despite a brief reprieve with films like Mandy (2018) and Color Out of Space (2019), both of which successfully harness Cage's outlier approach, he makes a swift and disappointing dip back onto Hollywood's B-list here.
    • 44 Metascore
    • 67 Thom Ernst
    The King's Man
    The King's Man takes known characters and events perverting truth with fiction. It's an amusing enough exercise even as it can jog free a few lost but freely interpreted high-school history lessons.
    • 44 Metascore
    • 75 Thom Ernst
    Dark Match
    Dark Match, a recent addition to a growing line of stream-screams, combines the melodramatic tensions of a sports drama with 80s-style schlock horror.
    • 44 Metascore
    • 58 Thom Ernst
    Resident Evil: Welcome to Raccoon City
    Raccoon City is most fun when showcasing Avan Jogia as a rookie cop who’d been transferred to Raccoon City after accidentally shooting his partner in the butt—a bad joke that Jogia turns into a workable gag.
    • 44 Metascore
    • 42 Thom Ernst
    The Jesus Rolls
    It’s not so much whether The Jesus Rolls fails. It does, but how much it fails depends on how amped up your expectations are going into the movie.
    • 43 Metascore
    • 42 Thom Ernst
    Night Swim
    Night Swim is another title to add to the increasingly unreliable canon of films from Jason Blum and James Wan. Not every new project has to be greenlit, gentlemen.
    • 43 Metascore
    • 67 Thom Ernst
    Rabid
    Rabid is a suitable entry into the science-fiction/horror genre that occasionally slants towards the promise of offering something more. And while the film’s science-fiction/horror elements don’t disappoint, the promise of something more doesn’t quite pull through.
    • 43 Metascore
    • 50 Thom Ernst
    The Strangers: Chapter 1
    I'll admit that The Strangers had me on the edge of my seat, mostly because I wasn't sure if I planned on staying.
    • 43 Metascore
    • 42 Thom Ernst
    Dark Phoenix
    The film settles for soft-peddling rehashed themes of belonging, where misunderstood mutants struggle once again to be accepted. We've been here before, and it was better the first time.
    • 42 Metascore
    • 58 Thom Ernst
    I Know What You Did Last Summer
    Whatever you do this summer, watching this reboot shouldn’t be one of them.
    • 42 Metascore
    • 67 Thom Ernst
    Halloween Kills
    Halloween is still a Michael Myers slasher film. People meet horrible ends in extreme ways, and the plot rarely goes beyond the idea that someone really should put an end to all this nonsense. The difference in Green's film is that he gives us a taste of the emotional aftermath; and that can be more horrifying than the kill itself.
    • 41 Metascore
    • 50 Thom Ernst
    Attack on Finland
    Despite an abundance of spent artillery, terrorists disguised as caterers, military strategizing, and filthy rich people in imminent danger, Attack on Finland achieves the level of a dry espionage drama with only a few surprises to elevate it from the mundane.
    • 41 Metascore
    • 50 Thom Ernst
    O'Dessa
    Geremy Jasper’s O’dessa is a dystopian rock opera lacking the essential elements of soul, rhythm, and the rebellious spirit characteristic of rock ‘n’ roll. It’s a tone-deaf attempt at greatness that ultimately falls short.
    • 40 Metascore
    • 50 Thom Ernst
    Anna
    And though Besson does salvage a reasonably entertaining tale, his unapologetic fetish for women who kill gives the movie an icky feeling of having stumbled across someone’s private web browser.
    • 40 Metascore
    • 67 Thom Ernst
    Unhinged
    Crowe, identified in the credits only as The Man, is the reason to see this film. He makes for a convincing villain. And even when the movie veers towards the ridiculous, Crowe forces you to keep your eyes on the road.
    • 40 Metascore
    • 83 Thom Ernst
    Meg 2: The Trench
    Director Ben Wheatley gives the summer blockbuster the finger, and it’s the funniest damn thing I’ve seen this year. Meg 2: The Trench is flawed to perfection; a satirical pummeling of commercial cinema and the first out of gate with a Barbie send-up.
    • 40 Metascore
    • 42 Thom Ernst
    The 355
    Despite some exemplary action sequences, including an impressive chase scene through the streets of Paris and into the subterranean tubes, The 355 fails to shed the tropes of male gaze and the kickass female fetishes of Kill Bill, Charlie's Angels, and every film Luc Besson has made with a female lead.
    • 40 Metascore
    • 67 Thom Ernst
    Spiral: From the Book of Saw
    Spiral is locked in a formula that has not budged in nearly two decades. That is likely to read as good news for fans of the franchise.
    • 39 Metascore
    • 58 Thom Ernst
    About My Father
    Director Laura Terruso overlooks several comedic opportunities in About My Father. It’s as though she’s working from a script that’s been edited by someone who got the situations but not the jokes.
    • 39 Metascore
    • 50 Thom Ernst
    The Exorcist: Believer
    There are many reasons why The Exorcist worked and still does, and why The Exorcist: Believer doesn’t and never will. But to explore the difference between the films too profoundly would be to legitimize Green’s film as a worthy successor to William Friedkin’s masterpiece. It isn’t.
    • 38 Metascore
    • 67 Thom Ernst
    Flight Risk
    While there are a few twists in the film, much like the certainty of a flight delay, none arrive unexpectedly.
    • 38 Metascore
    • 67 Thom Ernst
    Prey for the Devil
    There is plenty wrong with Prey for the Devil, but despite cringy moments of profound seriousness around a rather silly conceit, I was on board. It’s been decades since an exorcism film left me feeling unsettled. Prey for the Devil’s tactics might be cheap, but they worked on me.
    • 27 Metascore
    • 25 Thom Ernst
    Jiu Jitsu
    As flat and uncompelling as its title, Jiu Jitsu plays like a hybrid of rejected audition tapes from Predator with the outtakes from the fifth Highlander movie (and not the ones starring Christopher Lambert). But just how bad is Jiu Jitsu? Well, bad enough that the phrase “a waste of Nicolas Cage's talents” actually means something.
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