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. Blade Runner 2049
    Blade Runner 2049’s legacy will be estimated by both its ability to capture the spirit of the original and tell an enticing story in its own right. By virtually every measure, it succeeds — whether it’s Villeneuve’s careful, calculating directorial eye, Deakins’ sharp, distinct cinematography, or the film’s eye-popping visual design.
  2. American Made
    American Made speaks in shorthand, in its visual and narrative language alike, and it’s less the ribald ripped-from-the-headlines commentary it aspires to be than a cynically breezy take on an ugly, unduly buried chapter of American history.
  3. Gerald's Game
    Despite a handful of faults, it’s that rare horror film that works on both a psychological and a visceral level.
  4. Battle of the Sexes
    If Battle of the Sexes is more than a little slight in places, it more than makes up for its shortcomings through sheer entertainment value.
  5. Stronger
    For the majority of its runtime, Stronger manages to escape the traps that populate such films. It’s worth seeing, and worth your investment. Let’s just hope that next time around, Pollono and Green find a way to stick the landing.
  6. Kingsman: The Golden Circle
    It’s a big, vulgar, Saturday morning cartoon of a film, to both its benefit and detriment.
  7. First They Killed My Father
    Out of an act of war, Jolie has created a film of real compassion.
  8. The Shape of Water
    Filmed in aquatic hues and bathed in nostalgic mid-century style, The Shape of Water is both a love story and a love letter to monster movies, musicals, and classic cinema. Del Toro’s affection for the genres – and for the magic of film in general – is clear in so many charming and not-so-charming touches.
  9. Professor Marston & the Wonder Women
    Angela Robinson, who wrote and directed the film, has managed to take what could have been a tawdry or salacious look into Wonder Woman’s naughty roots and give her real-life characters – and their genuine love for each other – the same amount of respect that any vanilla, monogamous heterosexual historical figure would receive.
  10. Lady Bird
    Despite hitting so many classic coming-of-age hallmarks, Lady Bird never feels anything but fresh (and refreshing). This is, in part, due to the the film’s remarkably realistic performances.
  11. American Assassin
    American Assassin never transcends the exploitation at its core.
  12. Brad's Status
    While the ride is often entertaining and the performances mostly satisfying, it’s a frustrating experience, like watching the journal of the least self-aware person you’ve ever met come to vivid, whining life.
  13. mother!
    It’s a dizzying, sadistic feature, and may well be Aronofsky’s most biting work since Requiem for a Dream, but it’s also concerned with some deeply painful and humane material. Where that film aimed for repulsion of a literal bent, however, Mother! is far more concerned with horrors of the allegorical variety.
  14. Molly's Game
    Molly’s Game is a successful crime drama, but it’s also a film that acknowledges the presence of both good and bad luck in the pursuit of excellence. Most importantly, it allows failure to exist as a living and breathing entity, rather than a tragic ending or a fate simply suffered by the morally impure. And that is what you might call exceptional.
  15. Downsizing
    Payne’s heart might have been in the right place with this one, but the execution feels flippant at best.
  16. Suburbicon
    It doesn’t work on a purely aesthetic level or as a political statement, and the combination of the two goes together about as well as a mid-level Coens comedy and a morality play about racism masquerading as a thesis.
  17. The Killing of a Sacred Deer
    While the quality of the film’s craft is up for little debate, though, it’s overall appeal and impact are far more polarizing.
  18. It
    The whole movie is affecting, so much so that Pennywise doesn’t even matter. In a way, he’s more of a McGuffin to the real horrors at hand, from parental abuse to violent bullying to the unnerving revelation that life has only just begun.
  19. Goon: Last of the Enforcers
    Goon: Last of the Enforcers often feels far more like a stock sports film than its predecessor, and that’s what ultimately turns it into a highly underwhelming follow-up.
  20. 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.
  21. Bushwick
    If it never fully realizes the horrors of its prescient setup, it’s nevertheless effective in fits and starts.
  22. Crown Heights
    As a Big Message movie about the racism inherent in the criminal justice system, Crown Heights succeeds admirably enough. As an effective drama, however, the film is frustrating in its unwillingness to engage with its characters beyond its broader strokes.
  23. What Happened to Monday
    The steam runs out fast with one generic chase after the next, forgettable gunplay, and gory violence. Its ham-fisted double crosses and half-baked moral dilemmas amount to little.
  24. Logan Lucky
    It’s the kind of wholly fun, satisfying late-summer fare that audiences will crave as the season winds down on its face, but like much of the director’s more recent output, it’s operating on several more thoughtful levels at the same time.
  25. Lemon
    Lemon remains wholly original throughout, rendering old themes fresh with its bold perspective. It’s also incredibly funny, even when it’s dunking our heads into the darkness of the human psyche.
  26. Naked
    Sure, it may be a little rote, and even thrifty, but it offers more than enough yuks to earn its way into your Netflix queue.
  27. Good Time
    Good Time is a film of trembling anxiety, and while the score and the Safdies’ terrific direction both aid this, it’s Pattinson’s outstanding performance that pins even the most outlandish occurrences to a deep sense of emotion.
  28. Whose Streets?
    Whose Streets? humanizes Ferguson, but not for the benefit of skeptics. It’s a rallying cry for those who understand their pain and those driven by that same pain to affect real and lasting change.
  29. Annabelle: Creation
    Sandberg finds much of his terror in the tension that exists between light and shadow, an unsurprising discovery considering his previous film hinged on the two. They’re used much more effectively here, however.
    • 66 Metascore
    • 67 Critic Score
    The Trip to Spain
    Like Italy before it, Spain doesn’t prove as rich a journey as Coogan and Brydon’s original trip. For fans of the comics, bits, scenery, and pacing, the formula is still successfully in play for the most part, and everyone will pick out their favorite moments of Coogan and Brydon’s brilliant shtick.
  31. Wind River
    Wind River is also a potent example of how form isn’t always enough when the story is as frequently unnerving for unintentional reasons as it is for the horrors it aims to present.
  32. Ingrid Goes West
    While there’s something to Ingrid Goes West and its indictment of insufferable L.A. millennial culture and social media’s dangers, Spicer’s targets are too bluntly specific to make the sort of nuanced argument that the film aims to attempt.
  33. Step
    Step may be a touch too glossy, and unusually, a bit too short, but its power is undeniable.
  34. Columbus
    Kogonada matches the inquisitive eye of his two leads, finding the splendor in the everyday, the unusual in the unlikeliest places, and the need for connection that runs beneath all things.
  35. The Dark Tower
    Bringing the action of future Dark Tower novels forward isn’t a sin. The sin is not having nearly enough space for it. The film is breathless in all the worst ways as a result.
  36. Menashe
    Menashe offers an affectingly intimate glance into a world largely unknown to those outside of it, one where faith is omnipresent over every facet of daily life and the troubled society outside is no concern of the neighborhood’s residents.
  37. Detroit
    As the film’s scope reduces, it builds in horrific momentum.
  38. Girls Trip
    Malcolm D. Lee’s stab at a Bridesmaids-esque journey of debauchery is funny, sometimes uproariously so, but its greatest strength isn’t in the filthiest stuff. It’s in the rapport between four women who’ve worked hard to remain friends, even as the natural progression of time continuously pulls them further and further away from one another.
  39. Valerian and the City of a Thousand Planets
    In building worlds as detailed and vivid as he’s done here, Besson has essentially allowed the setting to do what’s typically reserved for characters and stakes, and that’s to make us care.
  40. Dunkirk
    By minimalizing his loftier techniques and tendencies of the past with brusque pacing and grand photography, Nolan has assembled the leanest and most impassioned film of his career.
  41. War for the Planet of the Apes
    War for the Planet of the Apes is a formidable conclusion (if indeed it is) to one of the more well-considered modern series to date. This is a film of difficult, lingering questions and painful revelations.
  42. City of Ghosts
    City of Ghosts is far less about the region’s troubled history than about the now, the daily abuses that continue to grow in severity as politics are talked elsewhere.
  43. Inside Out
    Inside Out is a superlative work of inspired imagination, one that may very well stay in your mind for a very long time.
  44. Okja
    It’s not the savage darkness of Okja that lingers most after it ends, or even the political allusions. It’s the story of Mija and Okja, trying to make sense of a frightening world where good people and animals alike die each day, and the only thing that can usually prevent this from happening is more money.
  45. Kuso
    Kuso is a hallucinatory, scatological, grotesque, and occasionally hysterical work of utter mania, the kind of wild cinema that cuts through the noise of all safer, more marketable filmmaking.
  46. Spider-Man: Homecoming
    It’s a very human film, oozing with heart and believable stakes, a brilliant marriage that mirrors the enduring ethos of the Spider-Man comic book.
  47. Despicable Me 3
    This is a mild return to franchise form, which is like saying that one of the descending plane’s jets started working again. Despicable? No. Deal-able? Sure.
  48. The Little Hours
    The Little Hours is reasonably entertaining, but it hints just enough at something deeper that it may well leave you wanting.
  49. The Beguiled
    There’s grace to be found in The Beguiled, and delicacy, but what’s most interesting is the brutality and power that seethe beneath the surface.
  50. May It Last: A Portrait of the Avett Brothers
    May It Last isn’t just a portrait of a band, it’s a scrapbook of a family, one that’s thorough, funny, and full of larger-than-life stories that will tickle the funny bone as often as they bruise the heart.
  51. Transformers: The Last Knight
    While the flagrant product placement is dialed back (at least on Bay’s curve) and there’s mercifully 100% less discussion of sexual consent laws this time around, the latest outing suffers from arguably the most fatal flaw a movie about giant fighting robots can: it’s brutally and relentlessly boring from start to finish.
  52. All Eyez on Me
    All Eyez on Me is the opposite of an ideal biopic.
  53. 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.
  54. Nobody Speak: Trials of the Free Press
    While the connections Knappenberger draws between private and government corruption are sometimes belabored, they’re also accurate, and a stark reminder of the increasing popularity of “bought” news.
  55. Rough Night
    Things move at such a breakneck pace and the film is so manic tonally that Rough Night winds up feeling more like a series of vignettes than an actual movie.
  56. Score: A Film Music Documentary
    Score’s charms are many, offering an appealing portrait of an aspect of cinema that sometimes doesn’t get the appreciation it deserves.
  57. Cars 3
    It’s a movie made of brief chuckles and obvious but well-meaning lessons, and if it lacks the grander ambition of some of the studio’s best and most memorable work, it’s still an enjoyable watch.
  58. Shimmer Lake
    Shimmer Lake’s climax does a fine job of bringing together its disparate parts for a resolution that’s surprising, effective, and logical.
  59. The Hero
    It’s odd to see Elliott in a performance that involves him appearing so adrift, but the actor mines Lee’s insecurities for a naked honesty that makes his arguments and apologies alike ring with a lifetime of remorse.
  60. Beatriz at Dinner
    Beatriz at Dinner has an ear for the microaggressions that tend to constitute so much modern racism, and these moments tend to play better than the broader attempts at cultural commentary.
  61. The Mummy
    Unfortunately, The Mummy’s true curse is that it’s doomed to sacrifice its moments of fun, breezy spectacle for overwrought world-building.
    • 78 Metascore
    • 58 Critic Score
    Long Strange Trip
    While Long Strange Trip is full of rare or untouched archival video and audio, there are very few revelatory treasures to tell those seriously interested in understanding the Dead’s impact something new.
  63. It Comes at Night
    It Comes at Night isn’t scary so much as it’s horrific, though Shults is extremely gifted at cultivating the kind of slow, droning dread that inflates in your chest like a black balloon.
  64. Band Aid
    There’s no linear path to being “okay,” or to overcoming grief, and Band Aid is ultimately as much about how people have to do these things on their own as it is about a couple doing it together.
  65. I, Daniel Blake
    This is a kitchen-sink hymn for the indomitable spirit of the common man.
  66. Wonder Woman
    This film is a goddamned blast. To merely call it the strongest entrant in the DC Entertainment Universe so far is to call Jaws the strongest entrant in the shark movie canon. Say what you will about Clark Kent, Bruce Wayne, and Deep Blue Sea, but Wonder Woman is in another class altogether.
  67. War Machine
    The humor and the indictment of the warrior mentality win out. Michôd’s better instincts take over, many of the crude jokes land with force, and Pitt is hilarious in this mode.
  68. Baywatch
    When it comes down to it, Baywatch’s central sin is that it’s just…not funny.
  69. Pirates of the Caribbean: Dead Men Tell No Tales
    There’s no voice, no style, and no real intrigue on hand. It’s all a slow sail to the next outsized setpiece.
  70. Berlin Syndrome
    Berlin Syndrome isn’t a sensational film; the emotions on display are warped and scarred, but rooted in identifiable desires. In some ways, this makes their impact that much more ingrained.
  71. Everything, Everything
    Everything, Everything is a film that achieves its ends in appealing fashion.
  72. Get Me Roger Stone
    Get Me Roger Stone offers its audience an unblinking, if disappointingly straightforward, look at the infamous operator.
  73. Snatched
    It’s still a reasonably funny movie when it hits its marks. It’s just a funny movie prone to going to some ugly, barren wells for laughs throughout as well.
  74. Alien: Covenant
    In one corner, you have Scott, fighting to tell an existential thriller about gods, creators, and evolution, and in the other, you have this obvious insistence to pay an ungodly amount of fan service to the past.
  75. The Wall
    Liman is no stranger to tense, effective thrillers – his last outing was the criminally undervalued Edge of Tomorrow – and on that level, The Wall surprisingly works.
  76. 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.
  77. Another Evil
    Another Evil may be a cheap thrill, but it has a unique take on the haunted house genre. Here’s a curious horror comedy that gets richer with every unexpected minute.
  78. Guardians of the Galaxy Vol. 2
    It’s the rare Marvel sequel that manages to expand on what came before in new and rewarding ways, while also striking its own distinct tone even as some of its narrative devices skew familiar.
  79. The Circle
    The Circle aims for slow-building dread, but Ponsoldt’s direction and the script are both so uncharacteristically stiff that the film’s tone never solidifies.
  80. Guardians of the Galaxy
    Director James Gunn’s first foray into big-budget movie making succeeds despite focusing on characters largely unknown to mainstream audiences and provides some of the most genuinely affecting moments of any Marvel film to date.
  81. Sandy Wexler
    Of course, there are still product placements, and lowbrow jokes, but there’s an empathetic streak in Sandy Wexler. And that’s something we haven’t seen from Sandler in a long time.
  82. Furious 7
    Furious 7 is at turns a celebration and a farewell, a film that goes for broke in using its many seemingly forgettable bits of established canon to tie together all of the films and pay its respects.
  83. The Lost City of Z
    The Lost City of Z is as much about the struggle of progress as the real-life story it’s telling, and Gray sharply observes the ways in which mankind continuously tears itself apart, usually in the name of progress.
  84. The Fate of the Furious
    Even as Fate has its fun and chases its highs (a few of which are pretty satisfying), it’s hard to shake the growing sensation that the bloom might be coming off the rose.
  85. Your Name.
    Your Name is the kind of film that’s all the more striking for how easily it could have gone awry, but Shinkai has accomplished something unique and genuinely special here.
  86. Gifted
    It’s a feel-good film that honestly feels good, and even when it rings a bit hollow, it doesn’t stay that way for long.
  87. Salt and Fire
    Fans of [Herzog's] unique style and humor will find much to enjoy in Salt and Fire, even if the film does lack some proper cohesion. Anyone who’s wavering in their critical affections, however, can easily use this as an example of what happens when a good artist buys into their own hype and mythology.
  88. Gemini
    The faults of Gemini are in its screenplay, and Katz’s inability to sustain interesting character dynamics and maintain a consistent narrative. As a director, Gemini is easily Katz’s most confident outing to date.
  89. The Discovery
    That world is so well-realized that the film is worth seeing, but it’s a mild letdown given the number of philosophical queries that it raises, only to leave ultimately unexplored.
  90. 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.
  91. Life
    Life is like a box of mediocrity. You more-or-less know exactly what you’re gonna get. But for what it’s worth, Daniel Espinosa’s space shocker, while totally born from the same stars as many other films, still lands about half the time.
  92. Saban's Power Rangers
    Power Rangers ably sates all appetites: it’s absurd enough to avoid the self-seriousness that threatens to swallow it throughout, but just straight-faced enough to stop short of the kind of referential irony that would sink it.
  93. T2 Trainspotting
    In one sense, here’s a sequel to a ‘90s classic that trades heavily on audiences’ appreciation for that previous film. In another, here’s a film that uses that fact in service of an insightful, affecting commentary on how there’s no choice in life but to either move forward or to not.
  94. Small Crimes
    Unlike similar thrillers cut from the same antihero cloth, Katz and Blair aren’t too concerned with frivolous and expected dalliances like redemption or honor. Instead, they run Coster-Waldau through the ringer, capitalizing on an unforgiving narrative that may be too bleak and uncompromising for some.
  95. Raw
    If Raw is hardly subtle in its depiction of burgeoning womanhood, from the social to the sexual, Ducournau delivers the film’s parable with a candor that suits it perfectly.
  96. The Belko Experiment
    Unfortunately, what The Belko Experiment delivers in face-twisting gore and deliciously taut suspense, it lacks in insight.
  97. Win It All
    This isn’t about the inner mechanics of the game, and it’s not even strictly a film about gambling, per se. It’s a dense character study that rests on the shoulders of Johnson, who delivers his strongest performance to date, casually handling every scene with a magnetism that recalls the likes of ’70s era De Niro or even the aforementioned Caan.
  98. The Transfiguration
    The problem is that, for all of its cinematic merits, there’s something strange about this particular vampiric parable.
  99. Atomic Blonde
    When you’re not shaking your head at Theron’s glass-crunching gymnastics, you’re probably soaking up Leitch’s emerald-lensed atmospheres, Luhrmann-esque set pieces, and the sensual lighting that could give Nicolas Winding Refn a seizure or two. That’s all without saying a single thing about its fabulous soundtrack.
  100. Song to Song
    Put simply, Song to Song lacks the soul of Malick’s best work.
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