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. Windfall
    Windfall has all the ingredients for an unusual crackerjack thriller: a game trio of actors putting in solid work (and, in Segel’s case, tapping into previously unseen layers of menace), some stylish direction, and a cheeky noir aesthetic from the credits to Danny Bensi and Saunder Jurriaans’ brass-heavy score. But the whole thing never quite builds on its mercurial concept the way it ought to; the characters are meant to be mysterious, but instead come across as mere ciphers.
  2. The Belko Experiment
    Unfortunately, what The Belko Experiment delivers in face-twisting gore and deliciously taut suspense, it lacks in insight.
  3. The Conjuring: The Devil Made Me Do It
    Honestly, points go to Chaves and crew for trying something different with The Devil Made Me Do It: perhaps recognizing the formula was getting stale, they decided to try balancing it with some new procedural tricks. But all it ends up doing is scattering the film’s sense of identity even further; we still get the scares, but they don’t work as well, mostly because they deal with people we don’t care about.
  4. XOXO
    XOXO is goofy and stickily sweet, like a mystery lollipop handed to you at an Avicii concert, but the film also lacks a strong take on the culture it’s documenting. It’s full of rave and fury, signifying nothing.
  5. 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.
  6. xXx: Return of Xander Cage
    While he has a decent enough handle on the right tone for the proceedings, Caruso’s action sequences are slapdash to the point of incoherence.
  7. 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.
  8. Falling
    Despite great direction by Mortensen, who also delivers a strong performance alongside Henriksen and (briefly) Linney, Falling is a repetitive and exhausting exercise that never gets around to unpacking why the audience should care about its ailing patriarch character. It’s too long and too one note for too little pay-off.
  9. Downsizing
    Payne’s heart might have been in the right place with this one, but the execution feels flippant at best.
  10. The Nowhere Inn
    Try as it might to blend the music-conscious idiosyncrasies of Portlandia with the varied persona of one of our weirdest, most valued artists, The Nowhere Inn ends up going, well, nowhere.
  11. Aquaman And The Lost Kingdom
    Momoa’s raw on-screen energy remains infectious even in the driest scenes, and Wan does wring a real sense of human connection out of the scenes between Momoa and Wilson, whose tempestuous fraternal bond is the emotional core of the film.
  12. Trash Fire
    Neither Bates Jr.’s assured direction nor the strength of the performances can salvage the narrative, which feels overly convoluted and spackled far too much finery.
  13. 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.
  14. Hardcore Henry
    The film starts to risk adrenaline fatigue after the first hour.
  15. Joker: Folie à Deux
    Phillips’s sequel proves to be a muddled love story that falls apart due to its inability to express anything thematically substantial or original.
    • 38 Metascore
    • 50 Critic Score
    Men in Black: International
    Sure, it’s a thrilling ride, but it’s also as memorable as a 75-second roller coaster.
  17. Lady and the Tramp
    This version of Lady and the Tramp actually lacks the thematic complexity of its ’50s inspiration.
  18. Personal Shopper
    Personal Shopper might be a failed, if noble, attempt at transcending genre, but you’ll leave psyched to see what its star does next.
  19. Insidious: The Last Key
    Robitel and Whannel are still too bound to the franchise here to make something truly original, but The Last Key will make you grip your armrest, squint your eyes, and prepare for the worst. Sometimes, that’s enough.
  20. Aladdin
    Aladdin could wind up working well for young audiences yet again. For everyone else, however, it’s a bland copy of a lush original. It has the same themes and characters, but without the heart or nuance, despite being 38 minutes longer.
  21. Popstar: Never Stop Never Stopping
    A lot of fandom went into this, but Popstar is relentless to the point where it eventually becomes plodding.
  22. Jason Bourne
    There’s just not a lot of weight to this sequel, at least not enough to dissuade anyone from seeing this as anything but a limpid cash grab.
  23. Patti Cake$
    Patti Cake$ is a rags-to-riches story that too often comes off as a carbon copy of other, similar rags-to-riches stories.
  24. Brahman Naman
    Brahman Naman is like a crispy Samosa with nothing at the center. The Netflix release, directed by Qaushiq Mukherjee, pays homage to American sex comedies from Porky’s and Revenge of the Nerds to There’s Something About Mary, but lacks the heart to go along with the excess of raunch.
  25. Juliet, Naked
    Juliet, Naked could have been great. Hawke and Byrne do have a chemistry, but they’re always on a separate bill, to crib from the musical theme. Even worse is the ensemble of supporting characters, which tends to be the strongest facet of any Hornby adaptation.
  26. The Death of Dick Long
    The Death of Dick Long offers its share of amusing dark comedy, but the film leans too much on Alabama stereotypes and inherently stupid character decisions to advance the plot.
  27. The Highwaymen
    It’s a valid mission, one supposes, but rendering Bonnie, Clyde, and their cultural impact in such a one-dimensional fashion doesn’t add weight to its subjects. It only serves to strip dimension away from their own story.
  28. The Nutcracker and the Four Realms
    For a film that looks this wacky, it’s a shame that The Nutcracker and the Four Realms is ultimately pretty boring.
  29. Last Flag Flying
    It’s a treacly slog that’s regretfully forgettable.
  30. Phantasm: Ravager
    Phantasm: Ravager will disappoint the uninitiated, but those who are loyal will find enough to love.
  31. Bleed for This
    Despite Pazienza’s own pitfalls and perils, the film never registers as anything more than a boilerplate boxing drama, which is a shame because the material is all there, it’s just hamstrung by a flimsy screenplay that refuses to let its characters exist on their own.
  32. Jane Got a Gun
    "Jane" eventually comes alive, even if Jane never truly does.
  33. 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.
  34. White Boy Rick
    White Boy Rick is a collection of interesting enough scenes in desperate need of a more cohesive framework.
  35. Eddie the Eagle
    Eddie the Eagle trips plenty, but Eddie, insufferable as he may be, represents the people that in spite of failure being visible at the bottom of a 90-meter ski drop, still take that leap.
  36. Girlfriend's Day
    Too often Girlfriend’s Day feels like it’s making things up as it goes along, unafraid to introduce another contrived plot device because there are no real rules preventing it from doing so.
  37. The Great Wall
    For Yimou’s colors alone, and one particularly striking set piece set in a kaleidoscopic stained-glass tower, The Great Wall may be worth the price of admission.
  38. The Boy Who Harnessed the Wind
    To commend The Boy Who Harnessed the Wind is reasonably easy. Here’s a film that’s pro-science, and sheds new light on a world that Western audiences don’t normally see. But it’s all so dramatically meager and obvious as well.
  39. Belladonna of Sadness (1973)
    For a film that takes such pains to position itself within the feminist tradition, Belladonna of Sadness has a bad habit of lingering on the body of its protagonist, coming across as more pornographic than progressive, more exploitative than revolutionary.
  40. Taken
    However handsomely and efficiently staged, the actual action in this action movie feels immaterial. It’s a foregone conclusion that Mills is going to get his daughter back, no matter what obstacles are thrown in his way.
  41. Beauty and the Beast
    The movie is like a second verse, sung a little louder and just a little bit worse.
  42. Bob Ross: Happy Accidents, Betrayal & Greed
    What the doc explores [is] the divide between the personal and business halves of Bob Ross, and which one should be allowed to occupy his legacy. Is he a face on a logo that sells increasingly kitschy merch of the man? Or is he the father of a son who loves him and wants to determine how he's remembered?
  43. Don't Worry, He Won't Get Far on Foot
    Don’t Worry, He Won’t Get Far On Foot is an incredibly mixed bag, a complicated story told with an approach that would have made more sense as a follow-up to Good Will Hunting in the ‘90s.
    • 51 Metascore
    • 50 Critic Score
    21 Bridges
    On the surface, we get a rough-and-tumble action film from the bygone era that serves up the middle-of-the-road divergences that play into a larger scheme of police corruption. However, the plotting gets tripped up by too many self-imposed obstacles that cause this otherwise breezy romp to feel weighted down by its own design.
  45. Deadfall
    Ostensibly, it’s a vehicle for Michael Biehn, whom no one else but James Cameron seems to know how to use properly, but everything else about the movie is forgettable.
  46. The Hustle
    While the movie’s a letdown in the remake and modernization departments, it’s at least a modest success in terms of ebullient talent and frothy farce.
  47. Kate
    Winstead may be a bonafide action hero, but the world around her just isn't interesting enough.
  48. 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.
  49. Woodshock
    There’s agony in the margins of every frame, but it remains muted beneath so many layers of color and so many hands drifting across surfaces.
  50. The Hummingbird Project
    While treating entrepreneurism like a classic Greek tragedy isn’t a bad idea in theory, Nguyen’s script is more than a little clunky, and the imagery nakedly self-serving. It’s a film about two people digging a hole so they can make ten more dollars per transaction, no matter how handsomely it’s presented.
  51. The Laundromat
    Regardless of its seemingly admirable intent and ambition, The Laundromat is not a good film. It’s sloppy, and self-indulgent, and in no way worthy of the self-satisfaction it brings to its big conclusion. It’s not without its amusing moments and solid performances, but it is, in the end, a thoroughly frustrating and tedious experience.
  52. The Cloverfield Paradox
    It’s weird, intermittently amusing gobbledygook that should help a drowsy weekday night pass a bit quicker. Unfortunately, mediocrity won’t do much for the Cloverfield brand, which set a high bar for itself with 10 Cloverfield Lane.
  53. Dheepan
    It’s a shame, given all of the film’s strengths, that Dheepan takes such a precipitous nosedive in its final act.
  54. Outlaw King
    Outlaw King is like watching prog versus metal. When it’s prog rock – folksy and wooden ­– it’s at its worst. Muted, draggy, earnest, with wee traces of carefully placed humor or commentary on a bygone era? It’s Moody Blues, and even a little Jethro Tull? Hardly worth putting on, unless you like your history slim and bone-dry. But at its best, it’s heavy metal, with swinging axes and church slayings and all sorts of grim goodies.
  55. Patriots Day
    Patriots Day sits right on the line between exploitation and tribute. The star power is dicey, and the action relentless, but Berg means well and likes the people in his recount.
  56. The Passion of the Christ
    It may exhaust you, it may offend you; it may guide you through Hell into something more revelatory. And how you receive the film may depend greatly on how you feel about the man who made it.
  57. Triple 9
    It’s great when a film leaves you wanting more, but not when you weren’t given much to begin with.
  58. Pitch Perfect 3
    Pitch Perfect 3 is hardly a perfect movie, but seeing these women singing and having fun on screen together for the final time is frequently a lot of fun.
  59. The One and Only Ivan
    The One and Only Ivan always “feels” like a movie without actually being compelling enough to be truly entertaining.
  60. Now You See Me 2
    There are some marginal but still noticeable stylistic improvements in the sequel. John M. Chu (a veteran of music videos and Justin Bieber: Never Say Never) brings a peppy energy that Louis Leterrier’s first film lacked, especially when showing off the flashy spectacle of the Horsemen’s almost-superheroic magic abilities.
  61. MaXXXine
    MaXXXine can’t decide whether to be a showbiz parody or a giallo sendup or a cute ’80s throwback, and it stumbles when it tries to be all of the above.
  62. The Free World
    Animal shelter/prison facility parallels become too heavy-handed, and performances packed with emotion give way to on-the-lam clichés.
  63. Deep Water
    Lyne’s return to the sweat-soaked stage trades bodice-ripping intrigue for repetitive boredom and psychosexual mind games with a straightforward descent into semi-madness.
    • 76 Metascore
    • 50 Critic Score
    Maggie's Plan
    The script, although endearing, is too poorly edited to lift its quirks to the next level, no matter how many stars show up for roll call.
  65. Dolittle
    At 100 minutes, with just enough digital chutzpah to keep everyone reasonably amused and never quite annoyed, Dolittle is tolerably fine.
  66. The Crow
    The real problem, sadly, comes down to script and execution, along with a failure to tackle that one big question all reboots really ought to answer: Why this story, and why now? Why did we need a new take on The Crow, after all these years? Just having the rights to the IP isn’t a good enough reason. And yet sometimes, it feels like that’s the only reason a movie like this gets made.
  67. The Christmas Chronicles
    The Christmas Chronicles is a passable enough lark, and may well be on the upper end of the spectrum when it comes to modern cinematic Christmas fare.
  68. Nocturnal Animals
    Lofty ideas of class, thwarted ambition, the superficiality of L.A. life, the nature of love, and the meaning of art are all explicitly addressed – and maybe discussed in a pretentious conversation or two – and then just as easily dropped, as if the simple act of naming themes is enough to establish their continued relevance in the film.
  69. Dark Phoenix
    There isn’t much to love, there isn’t much to hate, there’s mostly just indifference.
  70. Breaking
    There’s little to latch on here apart from its purpose as an actor’s showcase for Boyega, Beharie, and Williams, and its bittersweet status as a sendoff for the latter’s illustrious career.
  71. Bad Moms
    If Lucas and Moore do their six stars...a disservice with their muddy script, it’s nothing compared to the problems heaped upon the film by their direction.
  72. 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.
  73. Jack Reacher: Never Go Back
    It’s two solid hours of disposable, forgettable action-thriller filmmaking with a competent Cruise performance in the middle.
  74. 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.
  75. Flight Risk
    Truly, Flight Risk has its funny moments, though none of them are funnier than when the end credits start and you’re reminded, once again, that this movie was directed by Mel Gibson.
  76. Welcome To Marwen
    Marwen is too much, not enough, and yet still deeply watchable. It’s admirable for the wildly different approaches it takes. Only a stylist like Zemeckis could try something like this. Take a real man’s witty, real-life therapy-based photography and attempt to spin it into a mo-cap circus with every genre tool he can think of.
  77. Rio, I Love You
    Rio, I Love You is worth a passing look for its pot of talent.
  78. Joker
    Neither Todd Phillips’ hollow script nor his hey-check-this-shit-out direction offer much to work with, but Phoenix still manages to wring enough out of Fleck to make Joker almost work as a character study.
  79. Old
    Old, for its part, is quintessential Shyamalan of The Happening mold, a slick, amped-up B movie that hardly ever gives away that it’s in on the joke.
  80. Land
    For all its gorgeous visuals, comforting score, and strong non-verbal performances, there’s just not quite enough there at the script level to make Land‘s broader points, well, land.
  81. The American Meme
    It’s vital in the sense that there aren’t enough third-party chronicles of this undeniably potent force in the online world, but it’s sloppy in how safe it feels — it’s easy to imagine the stars agreeing to speak so long as certain topics were either breezed over or avoided entirely.
  82. Mowgli: Legend of the Jungle
    Mowgli is not entirely recommendable, but it’s not a total bust either.
  83. Extremely Wicked, Shockingly Evil and Vile
    Extremely Wicked is let down by a shaky mixture of tones, and a fairly hokey presentation of its time period.
  84. LBJ
    Though Harrelson’s performance is nothing if not memorable, it lacks dynamism. His tone and cadence, though booming, becomes familiar as the film barrels on, and the plasticine nature of his prosthetics is distracting.... It’s a good performance, but not a layered one.
  85. I Love You, Daddy
    It’s a film in which provocations are punchlines and treading into potentially offensive territory is an end in and of itself. It consistently pushes every boundary it comes across, and then just sort of stands there and shrugs about it.
  86. Justice League
    It’s better than you may expect, a mostly tolerable movie made occasionally enjoyable by a few lively performances, one good fight sequence, and a solid punchline or two.
  87. Tina
    Martin and Lindsay’s Tina all too often struggles to show Turner as a three-dimensional person — her wants, her beliefs, her passions — in lieu of her being a product of the abuse she withstood from Ike. As a tribute, it’s a disappointing slog for an always-vibrant legend.
  88. The Cursed
    Eight for Silver works best as an atmospheric period werewolf film with outstanding gore effects and creature design. Working against the film, however, is Ellis’ padded screenplay chock full of rote characters, drawn-out human conflict, and an ill-advised flashback structure that rips apart its final act.
  89. Before I Wake
    As it lurches into its second act, Before I Wake begins slavishly following the beats of its studio horror contemporaries, (mostly) abandoning its nuance for rote investigations into the cause of the phenomena and horror set pieces that defy the previously established logic of the dream manifestations.
  90. Joshy
    Writer/director Josh Baena (Life After Beth) bookends Joshy with dark moments, and while the first works perfectly, the second threatens to unravel everything that comes before.
  91. Being the Ricardos
    It’s just one symptom of the disease afflicting Being the Ricardos, which tries too hard to pack too much in, and ends up incapable of saying much at all as a result, which is baffling, because it’s such a talky movie. There’s a great film to be made about these two iconic television talents and their respective egos. Unfortunately, Sorkin’s own ego casts too large a shadow here for us to be able to see it.
  92. Action Point
    The movie is reasonably successful in its own modest way; its interests go no further than offering a handful of pratfall-driven laughs, and a few lessons about kicking back and cutting loose before you miss out on the simpler pleasures of life.
  93. Pet
    As hard as Pet tries to be something different, it still feels like a film about a woman in a dog cage.
  94. Miracles from Heaven
    There are plenty of fantastic films with Christian messages, but Miracles From Heaven is more interested in simplistic proselytizing to a heavily evangelical market that just wants their own existing beliefs confirmed. This is what makes the film so frustrating to watch; for the vast majority of its runtime, it’s essentially a good (if not great) family drama.
  95. Deadpool
    It’s hard to imagine a movie much more aware of itself both as a movie and as a moment in a cultural progression of similar movies than Deadpool.
  96. 12 Strong
    There’s a good movie hidden somewhere inside 12 Strong, probably tucked between the many explosions and the endless exposition. Unfussily directed by Nicolai Fuglsig, this is a film that’s all business.
  97. I Saw the Light
    It should be impossible to turn this kind of raw material into such an interminable slog, and yet somehow writer and director Marc Abraham...managed to do just that.
  98. Christopher Robin
    The pleasure of good company is Robin’s occasionally winning quality.
  99. The King
    For as well-intentioned as Jarecki may be, The King starts with a conclusion and works backward from there, and the results are more than a little tenuous.
  100. The Gray Man
    Without Evans, this review’s grade would be significantly lower. But even with Evans, The Gray Man simply falls short of expectations. This is exactly the kind of diversion that’s such a treat when done well, and to see it done shabbily is just a massive disappointment. With better editing and a story less strewn with cliches, this could have been such good summer fun. Instead, at best it feels destined to slip from our minds, like so many other Netflix original films.
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