CineVue's Scores

  • Movies
Select another publication »
For 1,771 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 6.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Lowest review score: 20 Victoria and Abdul
Score distribution:
  1. Positive: 1,013 out of 1771
  2. Mixed: 727 out of 1771
  3. Negative: 31 out of 1771
1771 movie reviews
view
per page
  1. Transformers: Age Of Extinction
    Does Michael Bay fit the criteria of an auteur? He certainly has his own line of distinctive tropes: the migraine-inducing noise, the fetishistic gloss, the playground-bully characters elevated to hero status and a fervently male gaze.
  2. Independence Day: Resurgence
    Lacks both the iconic heft of its predecessor's imagery as well as any sense of character development.
    • 32 Metascore
    • 60 Critic Score
    At the Earth's Core
    Featuring McClure, Cushing and Monroe, these films based on novels by Edgar Rice Burroughs highlight that author’s penchant for adventure stories.
  4. Plastic
    Witless and predictable, Plastic is about as disappointing as British cinema gets.
  5. The Beautiful Days of Aranjuez
    It's all so random and the 3D Kodachrome colours, poised performances and careful framing can't disguise the fact that The Beautiful Days of Aranjuez has very little to say.
  6. Revenge of the Ninja
    With a ludicrous plot that wouldn’t look out of place in a 80s American Saturday morning kids cartoon, this is the very epitome of B-movie zaniness.
  7. A Family (Una Famiglia)
    Una Famiglia is the kind of social realism that isn't realistic and says little about society.
  8. ma ma
    Heartstrings, prepared to be tugged at vigorously. Ma Ma is a quintessential tear-jerking melodrama that leans into its genre conventions heavily while still keeping an airy beauty to its characters and vision.
  9. Seventh Son
    Seventh Son is indescribably disappointing because it could have been a refreshing treat for genre fans. After spending years in development, the final product is laughably abysmal, and perhaps worst of all, utterly forgettable upon viewing.
  10. The Boy Next Door
    The sub-par acting, overdramatic cinematography and horribly predictable shock value of the film makes it all the more difficult to sit through without laughing at the ludicrous production or checking a cellphone to gauge how much torture one is expected to sit through before it finally ends.
  11. Narcopolis
    Its aspirations to high-end production values and the inventive use of urban cityscapes filmed from carefully selected futuristic angles are all very well, but it could have done with something a little looser, more punk, more grimy, more stoned.
  12. Ratchet & Clank
    Even with many of the original voice cast involved it's a tired effort that sadly - and it really is sad - doesn't live up to expectations.
  13. Hector and the Search for Happiness
    If there's a positive to be taken away from Hector and the Search for Happiness, it's that British cinema doesn't get much worse than this.
  14. Hitman: Agent 47
    Hitman: Agent 47 is tedious, soulless and, for a film with a relatively trim runtime, seemingly never-ending.
    • 27 Metascore
    • 40 Critic Score
    Pixels
    On this evidence, maybe the eighties weren't so great after all.
  16. The Happytime Murders
    Where The Happytime Murders excels is in its humour, because it’s very, very funny. But more than that, it’s filthy. Utterly, gloriously, unapologetically, deeply, darkly, sexually filthy.
  17. Fantastic Four
    With a weak structure and little chemistry, Fantastic Four proves itself to be a franchise that was better off lost in space.
  18. Ninja III: The Domination
    This third entry is undoubtedly the crowning glory in a series of films that could hardly be described as classics of the genre, yet are never anything less than gloriously entertaining.
  19. The Sea of Trees
    It has to be said that Van Sant is not above doing one for the studio but quite what sins he had committed to be made to make this pile of sub-Nicolas Sparks tripe will be beyond most.
  20. Grace of Monaco
    The film isn't just bad - it's awful - ineptly directed (Olivier Dahan), terribly written (Arash Amel) and bafflingly acted by an assortment of miscast faces.
  21. Dirty Grandpa
    Dirty Grandpa wants to be as filthy as a Tijuana peep show featuring a beleaguered performer and put upon donkey, but ends up as sickly sweet as a Werther's Original.
  22. Accidental Love
    The film does have a few merits, not least the cast being on great form and the script is, on occasion, very funny.
  23. Wild Orchid
    Exceedingly odd, but still pretty awful.
  24. The Last Face
    Penn's film doesn't entertain greatly nor does it have much coherent to say.
  25. The Whispering Star
    The Whispering Star may not be Sono at his most assertive - it certainly suffers in its middle section from the lack of thrust - but its imbued with tremendous resonance.
  26. Cherry Tree
    The film is nothing but a clumsy constructed yarn with a final scene/shot so cheap and misguided it sums up Keating's clunker with aplomb.
  27. It's Not the Time of My Life
    Szabolcs Hadju's It's Not the Time of My Life is an engrossing, poignant and often very funny study of marriage, family and child rearing.
  28. The Islands and the Whales
    Though Day may remain silent behind his camera, an omnipotent narrative voice lends The Islands and the Whales a folkloric, ethereal quality that alludes to the importance of legend and tradition for the Faroese people who for 1000 years, since the time of the Vikings, have "relied on the seas for its livelihood."
  29. Ayka
    Once we start to understand Ayka’s life and reasons for behaving how she does, the film gains tragic dimensions and its humanist voice grows into a desperate cry.
  30. A Cambodian Spring
    Kelly eschews talking heads or expert testimony, and only rarely to characters flesh out the skeleton provided by occasional intertitles. When this style is employed for a single, short-term conflict, it can be incredibly powerful (just think of Sergei Loznitsa’s Maïdan) but Kelly’s film effectively drops the audience in situ at specific events within a much broader six-year framework without any context.
Page:

Top Trailers

See all »
See all trailers »