Consequence's Scores

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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
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  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.
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