Consequence's Scores

Select another publication »
For 1,452 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Inside Out
Lowest review score: 0 13 Hours: The Secret Soldiers of Benghazi
Score distribution:
  1. Positive: 976 out of 1452
  2. Mixed: 341 out of 1452
  3. Negative: 135 out of 1452
1452 movie reviews
view
per page
  1. Mortal Engines
    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.
  2. Blumhouse's Truth or Dare
    Unfortunately, the good stuff comes not only too late, but is more or less undone by a head-scratcher of an ending.
  3. The Snowman
    The end result is a finished product which smacks of Universal optioning a hot Scandi novel, losing enthusiasm for it during development and production, and leaving audiences with the remaining carrots and coal.
  4. Tyler Perry's Acrimony
    That the film never fully gets to the heart of its savage commentaries is probably its greatest disappointment.
  5. The Outsider
    It’s clichéd, distant, afraid to truly immerse itself in anything but long looks, but at least it looks good. And that’s that.
  6. Ratchet & Clank
    When it comes to video games, fidelity to the source material only gets you so far, especially when the source material is as low-impact as Ratchet & Clank.
  7. King Arthur: Legend of the Sword
    What we really get is a film made of utter nonsense that’s even less interested in its characters than it is in telling a story.
  8. IO
    IO is dull, it drags, and it’ll beg the question: When will this, all of this, be over?
  9. Gemini Man
    A tonal miss and technical meh, Gemini Man arrives looking and feeling self-defeated.
  10. Passengers
    It’s so spectacularly inept, at so many different points, that it’s hard to imagine anybody will be able to forget it. It’s not a good movie by any stretch of the imagination, but it’s the kind of bad movie that audiences with the taste for that kind of thing will eat up by the spoonful.
  11. Teenage Mutant Ninja Turtles: Out of the Shadows
    To his credit, Green makes great use of wide-angle photography so the action feels comprehensible, with surprisingly long shots and effective editing. It’s just a shame the director’s talents are wasted on this brand-stamped mess.
  12. The Beach Bum
    Moondog’s antics aren’t all that funny or captivating, even when divorced from their assholery.
  13. Mechanic: Resurrection
    Mechanic: Resurrection plays in an uncommonly generic key, and the film only makes intermittent attempts to enliven the proceedings.
  14. Ghost in the Shell
    Ghost in the Shell is a visually arresting film, even occasionally an entertaining one, but profound it ain’t. That’s no crime, but dressed up as it is in the trappings of a much smarter film, its significant shortcomings stand out every bit as much as a pair of pert breasts on a supposedly utilitarian body.
  15. Instant Family
    If you’re going to tackle serious subject matter, maybe don’t run it through tacky fluff that amounts to a fleeting sugar high. Sure, this movie will get all the right oohs and aahs, sighs and sobs — it certainly won over the freebie test audience at my screening, good god — but it won’t linger.
  16. Fifty Shades of Black
    Marlon Wayans is clearly getting off on the gags, but the lazy, hard humor, and elastic joke-making eventually has a numbing effect.
  17. Slender Man
    The first major problem with Slender Man is that it’s not anywhere near as scary as many of the fan-made mockups that can be found online right now, but the second and arguably bigger one is that it’s barely a Slender Man story.
  18. The Do-Over
    The Do-Over isn’t Sandler at his best, but it’s also not quite as putrid as what we’ve come to expect from him lately.
  19. Lights Out
    Jump scares are all Sandberg seems to have in his bag of tricks, and each is clunkily executed and met with an agonizing, ear-piercing shriek. Watching Lights Out is like standing next to an idiot with an air horn, never quite knowing when it’s about to blow in your ear. It’s a far cry from the freaky grace of his short.
  20. The Accountant
    The Accountant tallies up its numbers for an achingly long 50 minutes before it starts to finally piece together any semblance of a structured plot.
  21. The Hitman's Wife's Bodyguard
    Sure, it commits wholeheartedly to its bone-dead stupidity more than the first film. But it leaves a final product so scattered and uninspired that, less than 24 hours after seeing it, the vast majority of it escapes my memory.
  22. Pacific Rim: Uprising
    Uprising plods around like the giant robots that occupy so much of its space, moving too quickly to let almost anything resonate emotionally, but not quickly enough to lend much of an adrenaline rush.
  23. Table 19
    It’s a genuine drag to watch talented actors struggle through tepid material, and Table 19 offers this more readily than it does its laughs or its pathos.
  24. The 15:17 to Paris
    The 15:17 to Paris is too unfocused, too hard to take seriously, and too short to really get invested in it. It’s an Eastwood misfire.
  25. Tom Clancy’s Without Remorse
    Many shots fired, all of them misses. This is a film without quality, care, or any real decency.
  26. Zeroville
    The film isn’t — as crazy as this sounds — a total wash.
  27. Life Itself
    Though Life Itself is neither good nor “so bad it’s good,” it’s also such a bizarre, inexplicable film that it’s almost worth seeking out just to experience it for yourself. For those who want to watch a worthwhile family melodrama, however, just stick with This Is Us.
  28. The Fanatic
    Like the Hollywood it tries to lampoon, in its way, The Fanatic comes across as shallow. It is, as they say in the biz, a flop.
  29. Tom & Jerry
    The dispiriting thing is that Tom & Jerry is far from the worst family film in the world. It’s just a familiar, by-the-books, vertically integrated product to ensure continued IP visibility for the film and television arm of a corporate portfolio. Here’s the latest and laziest IP for you to become disenchanted by, should you feel so inclined.
  30. Mother's Day
    The film’s script is designed to constantly flatter the sensibilities of its target audience, which is a nice enough goal, but it never seems to reflect the way that people actually speak, think, or behave. At best it’s corny, and at its worst it’s actively offensive.
  31. The Intruder
    In an age where “so bad it’s good” has lost much of its meaning in a sea of calculated camp, The Intruder may be one of the few films of recent vintage that truly qualifies.
  32. The Midnight Sky
    Fittingly, The Midnight Sky suffers from the same weightlessness as its astronauts — Clooney opens his big, wet soulful eyes, and Alexandre Desplat‘s overly-aggressive score lays on the emotion as thick as syrup, but none of it lands.
  33. Gods of Egypt
    Gods of Egypt is a dull, meandering, plastic mess of pre-2002 CGI and performances as flat as the green screens behind them.
  34. Bright
    It’s the kind of film that sets up a compelling sandbox in which to play, and then smashes gracelessly through it, cackling all the while.
  35. Lucy in the Sky
    The film has spent so much time telegraphing its own depth that it forgets to create any, and thus when that wig arrives, we have no reason to view it as anything other than ridiculous.
  36. Warcraft
    Jones slaves to make something of the material, and to his credit, or rather his profoundly large cast and crew’s credit, the craft is certainly visible in Warcraft. It feels rude not to compliment the hard work of the makeup, costume, production design, and visual effects teams.
  37. The 5th Wave
    Blakeson and screenwriters Susannah Grant, Akiva Goldsman, and Jeff Pinkner don’t seem to care much about telling the story. They’re just checking off the boxes.
  38. The Angry Birds Movie
    It should come as no surprise that The Angry Birds Movie is a loud and dumb children’s film, but for what it’s worth, there are plenty of cinematic commercial ventures that are louder and dumber and so on than the well-meaning and slickly sold Birds.
    • 39 Metascore
    • 33 Critic Score
    The Greatest Beer Run Ever
    Whatever this film’s intentions may have been, and perhaps they were wholly noble, one thing is abundantly clear: Smokey and the Bandit is still, and without much competition, cinema’s greatest beer run. And that movie managed to deliver a whole truckload of beer without doing any disservice to the Vietnam War.
  40. Onward
    When the leads are drawn this terribly thin, and Onward is so hopelessly focused on the dad narrative that it can’t help but ignore its creativity in favor of mawkish afternoon special, the product stinks of a bad Amblin ripoff.
  41. Concussion
    Concussion tries to “tell the truth!” but its filmmaker feels compelled to surround the truth with tales of a man whose life is just not that interesting.
  42. Hunter Killer
    Hunter Killer has thrills, but they’re of the cheapest variety.
  43. Cats
    As an adaptation, Cats is declawed, never delving fully into the possibilities offered by its proportion-manipulating trick photography and its animated cast. As a big-budget spectacle, it’s a triumphant disaster, if one at least born from a unique idea.
  44. Yoga Hosers
    While Yoga Hosers continues Smith’s quest to push himself into increasingly strange and uncomfortable directions as a filmmaker, it’s either too derivative or too malformed to work the vast majority of the time.
  45. Dean
    Although the movie is warm and affectionate enough, Dean is not very good, and at its worst the film treats its audience as if it is fairly stupid.
  46. Sicario: Day of the Soldado
    The action scenes are tense and well-staged, and the performances are staggeringly effective. On a technical level, it’s a notable work of formal craftsmanship. But to what end?
  47. The Turning
    The mood and atmosphere is appropriately unsettling, and the stellar cast never stops trying to elevate the material, all of which makes it even more upsetting to watch as it slowly unravels and botches the landing.
  48. The Conjuring 2
    It’s slick and stylish to the point of distraction. This isn’t horror; this is exaggerated carnival fare.
  49. The Book of Henry
    It aims for the kind of sprawl that could contain a film with so many big ideas about death and grief and cruelty and salvation, but it’s somehow at once too modest for how bizarre it eventually gets and too excessive to meaningfully deliver on those emotions.
  50. Cherry
    There’s a fundamental disconnect between Cherry’s cynicism and Holland’s innate naivete that just makes the whole affair feel wrong somehow, not to mention crushingly long at nearly two and a half hours.
  51. Rebel Moon Part 1: A Child of Fire
    In its current shape, Rebel Moon isn’t just boring; it feels hopelessly compromised.
  52. Rampage
    It’s the worst kind of ridiculous: not enough so to be memorably fun, but far too much so to be taken with any degree of gravitas.
  53. The Prodigy
    While it’s a reasonably paced thriller, The Prodigy is almost wholly devoid of real scares.
  54. Humor Me
    Humor Me is essentially the feature film adaption of writer-director Sam Hoffman‘s web series Old Jews Telling Jokes, and much like ideas that are typically created for a web series, the execution of the material appears to be just a bit too lacking to serve the purpose of a full-length film.
  55. Gold
    Gold is weakly written, predictable, and too placid to achieve any loftier ambitions. It’s just a soft-sold tale of a schemer’s paradise.
  56. The Curse of La Llorona
    It’s a paint-by-numbers would-be blockbuster entirely built around the delusional notion that general audiences can’t be scared by anything more thoughtful than recycled jump shocks and derivative monsters.
  57. Antebellum
    Antebellum makes every moment meaningful or teachable. And under the strain of making its many, many points, Antebellum forgets to be a good movie, which is ultimately what draws audiences in and allows them to connect the dots for themselves.
  58. Cell
    Given the absurdity of the premise, Cell isn’t nearly as luridly entertaining as it should be.
  59. Escape Room
    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.
  60. Book Club
    A smarter film would’ve more deeply explored the interpersonal dynamics between these four very different lifelong friends, but Book Club presents its central quartet as a blandly supportive girl group and mines drama from their far less interesting individual romantic storylines instead.
  61. Foe
    It’s difficult to overstate how badly Foe fumbles its heady premise and firecracker cast, a film so dependent on its biggest secret that it’s both predictable and hard to grasp by the time the trigger is finally pulled.
  62. Death Wish
    There’s something distinctly odious about a storyteller exploiting both a city’s tragic reality and a country’s debate about firearms to make a film that thrives on violence.
  63. The Bronze
    The Bronze is so satisfied with its own winking crassness that it lets epithets constitute everything it has to say. Between that and the film’s scene-by-scene tonal shifts, what could’ve been an off-kilter curiosity curdles into a dull roar of disappointment.
  64. Wolves
    Wolves is more affecting than it should be by virtue of its cast, who deserve better, but the drama is so schematic that their Herculean efforts leave little impact.
  65. Mute
    Mute has gobs of style to burn, but it’s virtually the textbook definition of sound and fury signifying nothing.
  66. Twilight
    Watching Twilight, I was floored by how earnest all of this was, how seriously everyone involved took what is clearly a horrible, unhealthy, doomed relationship. And is there anything more teenage than that?
  67. Blair Witch
    Blair Witch is disappointing on multiple levels, all of which have nothing to do with the franchise.
  68. Don Verdean
    Don Verdean is the sort of comedy which presumes its own hilarity long before it gets around to telling any actual jokes, or staging anything that might otherwise be considered funny.
  69. Hillbilly Elegy
    Hillbilly Elegy does not bring out the best in its cast, and Howard fails to bring the intensity or depth that might make something meaningful. His approach is all after-school special, all the time.
  70. The Happytime Murders
    It becomes clear all too quickly that “puppets say swears” is all the film has to offer, so it’s a slog to sit through the remaining seventy minutes of that same joke, repeated ad nauseam.
  71. All Eyez on Me
    All Eyez on Me is the opposite of an ideal biopic.
  72. Murder Mystery
    Murder Mystery is a dud, stained with slack humor and a total unwillingness to play within its own chosen genre.
  73. American Assassin
    American Assassin never transcends the exploitation at its core.
  74. Songbird
    Adam Mason’s Songbird is about boring people getting mad that they’re stuck inside, and the government is oppressing them, and they’ll soon fly free or whatever.
  75. Terminal
    Drawing from a host of late-nineties influences but doing nothing with them, Terminal is little more than a shallow exercise in dated crime movie pastiche.
  76. Independence Day: Resurgence
    A curiously loud and ugly beast of a sequel.
  77. Collateral Beauty
    It is not a bad film because of its sincerity of intention. It’s a bad film because it manages to make that sincerity feel disingenuous as it goes on, more and more so with each passing scene.
  78. The Space Between Us
    As with Collateral Beauty, Loeb piles on the ridiculous narrative twists to eye-rolling effect. The last twenty minutes of The Space Between Us are a rollercoaster ride of changing motivations, baffling character reveals, and overblown dramatic gestures that completely defy belief.
  79. Fatman
    Another lump of coal in Gibson’s rapidly declining filmography. Fatman has no gifts to speak of. It’s kind of cheap. It’s fairly cynical and/or mean-spirited. It’s not fun. No good. Lumpy in execution. Deeply archaic in its thinking. Ho ho ho-hum.
  80. Dark Crimes
    The only subtlety to be found is in the performance of singer and actress Charlotte Gainsbourg, though it’s her co-star, Jim Carrey, who will be the subject of most of this strange, ugly film’s discussion. And why not? It’s a bizarre, fascinating turn for Carrey.
  81. Fist Fight
    What’s most unfortunate about Fist Fight is the wealth of talent it amasses for little to no discernible purpose.
  82. The Little Things
    It’s a miserable experience — a dull, dated copy of something we’ve seen before — and takes way too long to ever get moving. (It never really does.) In the end, an unimaginative script and underutilized actors make The Little Things as trivial as the title implies.
  83. Antibirth
    Which is why Antibirth feels more like an anti-film, a piss-poor assembly of remarkable cult actors and brazen narratives that start off divorced without ever being married.
  84. Mile 22
    A perversely fascinating mess from start to finish, Mile 22 is Berg’s most baffling attempt yet to make art out of the most virulent post-9/11 fears about terrorism and international espionage.
  85. The Ridiculous 6
    Whatever you think about Adam Sandler right now, The Ridiculous 6 won’t change your mind. If you love him, you’ll love this; if you hate him, you’ll get plenty of ammo here.
  86. Rambo: Last Blood
    Dumb as hell, gory as can be, and reliant on the hilarious idea of Stallone traveling at the speed of sound to ambush a few dozen cartel soldiers.
  87. London Has Fallen
    London Has Fallen is terrorism porn, an alarmist, jingoistic piece of CGI-soaked garbage that implores its audience to fear nothing after sensationalizing the slaughter of innocents and the destruction of a major city.
  88. The Dirt
    Its lack of energy, depth, and pure volume are, at the movie’s best, sanitized. Despite the long wait, The Dirt is nothing more than karaöke Crüe.
  89. Extinction
    While the script is fundamentally flawed, the direction doesn’t help. Young, who previously helmed the brutal 2016 indie Hounds of Love, feels out of his element in the sci-fi action realm.
  90. The Nun
    It’s about as effective as a Walgreens Halloween display, where any terror derives from uninspiring shock value, and given that each and every pop-up scare can be seen from over a mile away, the movie fails in that respect, too. It’s exhausting even.
  91. Baywatch
    When it comes down to it, Baywatch’s central sin is that it’s just…not funny.
  92. Glass
    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.
  93. Geostorm
    Geostorm finds itself in the curious position of simultaneously taking itself too seriously and not enough so. It’s a disaster movie far too ridiculous to generate any real gravitas, but it’s also just glum enough to suck any fun out of watching the beaches of Rio de Janeiro freeze over in an instant.
  94. Death Note
    In adapting Death Note for a presumably American audience, Wingard loses the whole of its identity, and never finds a different one with which to replace it.
  95. God's Not Dead 2
    There is a tone of anger that sneaks out of the film in even its moments of levity.
  96. Bohemian Rhapsody
    Bohemian Rhapsody is another lame music biopic, and its failures ultimately lie in the poor creative choices, the gutless approaches to potentially explosive events in the life of this band. We’re not buying this new album. There’s no new material to be found in Bohemian Rhapsody.
  97. The Choice
    For a film that hinges so much on the chemistry and charm of its two leads, it’s tough to recommend The Choice on even those grounds.
  98. Peppermint
    If Peppermint has one thing going for it, and it’s by and large the only one, it’s Garner.
  99. Boo! A Madea Halloween
    This is another bad Perry film, but a curiously verbose one with jokes piled atop more jokes.
  100. Polar
    Every second grates and confuses in equal measure, with nary a thrill of inventive, exciting action filmmaking to break up the monotony.
prev
Page:

Top Trailers

See all »
See all trailers »