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. Baby Driver
    No Hollywood suit and no diehard fan could have had the foresight to picture something like this, namely because nobody but Wright had any idea what this was supposed to be. This is something that’s been brewing inside his head for over two decades, and that unquestionable dedication, confidence, and passion fuels each and every scene of Baby Driver.
  2. Beauty and the Beast
    The movie is like a second verse, sung a little louder and just a little bit worse.
  3. 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.
  4. Kong: Skull Island
    Perhaps the most satisfying thing about the film is what comes after, when you stop to realize how darkly comic and sickly fun the film was after you’re done reeling from all the impaling and dismemberment.
  5. 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.
  6. Contemporary Color
    A passion project from the sing-talk god David Byrne, Contemporary Color is a concert film, but a finicky one, unstable and unfocused.
  7. My Life as a Zucchini
    It’s a simple story of children who have to figure out, at too young an age, what kind of people they’ll be. And in its pervasive sense of hope, Barras seems to suggest that they can be anybody they want. There’s always still time, as long as love remains in the world.
  8. I don't feel at home in this world anymore.
    Feature-length films generally aren’t nimble enough to reflect the current zeitgeist with such uncanny accuracy, but Blair’s neo-noir-comedy-thriller is that rare story that seems to have come along at just the right time.
  9. Logan
    This is a filmmaker’s film, a fully realized statement that oozes with the assurance and confidence of a hungry visionary who not only knows what he wants to do but how to do it.
  10. American Fable
    While American Fable isn’t without its share of flaws, it’s the type of inventive production that hints of happier endings to come.
  11. Fist Fight
    What’s most unfortunate about Fist Fight is the wealth of talent it amasses for little to no discernible purpose.
  12. 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.
  13. 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.
  14. A Cure for Wellness
    A Cure for Wellness feels like a return to form for the director. It’s not hard to imagine how Verbinski might have come up with a baffling horror film about the pressures of work/health balance. His latest film is rich with invention, intrigue, and a mind-melting liveliness that’s impossible to ignore.
    • 72 Metascore
    • 75 Critic Score
    Eagles of Death Metal: Nos Amis (Our Friends)
    However incomplete, Nos Amis nevertheless stands as an engrossing portrait of the power of honesty and friendship, the permanence of art, and the perseverance of the human spirit.
  16. Fifty Shades Darker
    Dull at best, damaging at worst, and not worth a moment of your time.
  17. John Wick: Chapter 2
    Chapter 2 is a hyper-violent piece of pulp action cinema through and through, but it’s also an exemplar of how to make such a film with style and intelligence.
    • 54 Metascore
    • 67 Critic Score
    David Brent: Life on the Road
    Life on the Road ultimately makes good in a way that few comedy films based on television characters do. Perhaps part of that owes to Gervais’ not-so-subtle, yet still powerful, insights into David Brent.
  19. The LEGO Batman Movie
    Given the sheer volume of jokes on hand, it’s impressive how often LEGO Batman successfully lands its punchlines.
  20. Imperial Dreams
    Where Imperial Dreams occasionally wavers is in its unsubtle storytelling, which often feels at odds with Vitthal’s appealing and naturalistic direction.
  21. V/H/S: Viral
    Although it’s by far the weakest of the three, there are some genuinely creative moments that spark the brain and fry the hairs.
  22. I Am Not Your Negro
    I Am Not Your Negro is the kind of documentary that could open ears, eyes, and hearts with its moving agony and historical empathy.
  23. Rings
    Rings is too beholden with current trends to truly exploit the potential it displays in its early going.
  24. 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.
  25. The Comedian
    What really hurts the film is its messy screenplay and boilerplate direction.
  26. War on Everyone
    McDonagh seems to have more to say in this film, but it’s lost among the narrative and stylistic inconsistencies.
  27. XX
    XX is a horror anthology more admirable for its intent and concept than for its execution.
  28. 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.
  29. Call Me by Your Name
    It’s a transcendent love story, and a work of overwhelming empathy.
  30. Dayveon
    Dayveon’s muted, largely allusive storytelling takes a backseat to tone and place throughout, and Abbasi demonstrates an assured command of both.
  31. 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.
  32. Brigsby Bear
    Brigsby Bear offers a touching and daringly unconventional reminder of how no approach to filmmaking is inherently bad with the right mind at the helm.
  33. Mudbound
    What’s perhaps most remarkable about Mudbound is its emotional honesty, Rees rarely sidestepping the inner lives of her characters and never diminishing their own battles to live in an unlivable time, however wrongheaded they might be.
  34. A Ghost Story
    A Ghost Story is filmmaking that challenges and exhilarates, a potent reminder of how many new places film can still be taken even after a century of people working in the medium.
  35. Get Out
    Peele is a talented director of action as well as horror, and Get Out is always far from boring even in its more familiar scenes.
  36. The Big Sick
    It’s a perfect marriage of direction, performances, and writing, the kind of comedy that people eagerly wait for. Its solutions aren’t easy, and its paths unusual, but it’s a love story that completely earns its emotional peaks, and the kind of comedy that makes you wish every single one of them were this great.
  37. Landline
    Where the narrative is sometimes slack, and the film’s larger purpose left to interpretation after a while, Landline’s great strength lies with its performances.
  38. Colossal
    Though Colossal does occasionally waver, most often due to its recurring tendency to hastily discard characters before their stories feel complete, it’s also a genuinely touching film that works phenomenally well for the most part, bolstered by the lingering sense of regret that hangs over the film’s funniest and most wrenching sequences alike.
  39. An Inconvenient Sequel: Truth to Power
    It’s less an attack on big business (though such sentiments are certainly present) than a call for a rational assessment of proven facts. If it does occasionally dabble in hero worship of its subject, it also makes the effective case that somebody has to keep showing up when nobody else can be bothered.
  40. 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.
  41. The Founder
    There’s just no subtlety to any of the proceedings and while there’s an argument to made in how the film’s fairly transparent about these intentions, none of it rises above being anything more than an average historical recap.
  42. 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.
  43. 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.
  44. Live by Night
    In its unwillingness to settle on a singular approach, Live By Night undercuts the things that occasionally do work, and leaves it a film in search of a grander purpose.
  45. Claire in Motion
    Any sense of mystery or suspense quickly dissipates as the film returns again and again to repetitive and terse exchanges between Claire and Allison, whose revelations aren’t as surprising as they’re probably intended to be.
  46. Hidden Figures
    Hidden Figures might not be as groundbreaking as the women whose story drives it, but like those women, it does what it does very well.
  47. Silence
    Profound and illusory, Silence shows Martin Scorsese at the confessional, in sensationally cinematic style, delivering perhaps his most intimate work to date.
  48. Fences
    In this instance, the medium just doesn’t elevate the material. That said, Fences is still a gripping watch, but it’s gripping for the reasons the play has always been gripping: the language and performances.
  49. Assassin's Creed
    What saves this head-scratching, relentlessly portentous movie is what also saves the games: the action is on point.
  50. Sing
    The presentation and little tweaks along the way make Sing far less grating than you’d expect. There are dozens of great moments, beats, and tunes.
  51. 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.
  52. 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.
  53. Rogue One: A Star Wars Story
    For a film that’s all about hope and rebellion, it’s kind of ironic how it’s such a conflicted mess in and of itself. The Force should have been stronger with this one.
  54. Lion
    If you’re looking for a reinvention of the biopic formula, there are plenty of films this season to set you up. If you think there’s still room for the traditional ‘true-story’ drama, Lion proves these stories still have a little life left in them.
  55. Office Christmas Party
    It feels like a missed opportunity overall, a movie that’s just funny enough often enough to make you wish that more of it fit together.
  56. Always Shine
    Always Shine is a fantastic thriller for two-thirds of its runtime, ending with a ballsy third act as admirable in its ambition as it is narratively frustrating.
  57. Miss Sloane
    Miss Sloane is a smart, thorough film about a rare subject that is also as breathless, broad, and crowd-pleasing as your standard Grisham thriller.
  58. Jackie
    It’s as complex and surprising a character study as any you’ll see this year, a fact made all the more impressive when you remember that the woman in question has been turned into a collectible doll.
  59. Pet
    As hard as Pet tries to be something different, it still feels like a film about a woman in a dog cage.
  60. Manchester by the Sea
    This is pitch-perfect filmmaking, the kind that turns a hungry visionary into a popular last name. Rest assured, it’s all earned. Manchester by the Sea is a hearty, rewarding drama audiences will remember for years.
  61. Allied
    Misdirection, tight spots, intimacy as danger. Allied is a paperback thriller’s greatest hits compilation. But the film’s plotting is lively and sincere, gussying up the staid tropes of intrigue into immediate pleasures and perils.
  62. Bad Santa 2
    Everything’s so achingly foul and with zero finesse, which makes for an awful, joyless experience.
  63. Moana
    Even allowing for its recognizable traits, Moana is as much a treat to watch as any recent Disney outing.
  64. The Edge of Seventeen
    The Edge of Seventeen has more than enough earnestness of heart to make up for its structural shortcomings. It’s a teen film with an uncommonly honest ear for interactions.
  65. Fantastic Beasts and Where to Find Them
    There’s something sad, frightening, or even disturbing around nearly every corner. Still, there’s delight in the world, and it’s hardly in short supply.
  66. 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.
  67. Hunter Gatherer
    Hunter Gatherer is by no means perfect, but it leaves an impression that will linger for days to come, as images of Ashley and Jeremy continue to haunt the mind. Hunter Gatherer is that rare film that sneaks around the corner and smashes headlong into the viewer.
  68. True Memoirs of an International Assassin
    It’s damnable with faint praise. It’s too cheap to be thrilling, and too earnest to be all that offensive. Mired in clichés. Mostly flat. A weak Spy. Only Kevin James diehards need apply.
  69. Rules Don't Apply
    Hughes has seen his fair share of dramatizations on film (The Aviator, Melvin & Howard, The Hoax, even The Rocketeer), but Beatty delivers a fresh, idiosyncratic take, about the figure and the people in his orbit of oddity.
  70. The Monster
    The Monster is worth watching for Kazan and Ballentine.
  71. Sicario
    Sicario works on every level. It’s also fairly prescient, coming at a time when America rages on about the ethics of border control and the mounting war on drugs.
  72. Army of One
    Army of One recounts Faulkner, through Quixotan whimsy and geo-political smart aleck humor, which amounts to a quick screwball comedy about a loveable fuckup.
  73. Doctor Strange
    Doctor Strange lacks the bloat that’s made other recent, blockbusting superhero films fall flat. It doesn’t lean too hard on the considerable talents of its stars, nor does it waste their talents. It keeps a brisk pace, but doesn’t rush. It gets weird, but not too weird. And if all else fails, it’ll make your jaw drop from time to time.
  74. Into the Inferno
    While there are no chapter breaks or anything to formally guide the audience in that way, Into the Inferno feels unusually episodic by Herzog’s typically cohesive standards.
  75. Hacksaw Ridge
    It’s a movie about bravery and the power of inspiration, be it divine or corporeal, in moments of hopelessness. Desmond’s faith is placed front and center, and the way it operates here celebrates not the object of that faith, but the power it has to motivate both Desmond and his squad.
  76. I Am the Pretty Thing That Lives in the House
    What’s clear in Perkins’ second feature is that he’s clearly become aware that his talents as a visual storyteller outweigh his skill with narrative. He’s leaning into that, and while it might make for a more “difficult” film, it’s ultimately a more satisfying one.
  77. 12 Years a Slave
    Ejiofor is truly incredible from start to finish. McQueen’s approach to Solomon’s struggle is seamless, eschewing onscreen titles or obvious discussions of lapsed time or virtually anything that could briefly detach a viewer from their immersion into Solomon’s real-life nightmare.
  78. The Handmaiden
    The Handmaiden is film at its most exhilarating by a director at the height of his powers, and it’s the kind of singular rarity that must be savored when it comes around.
  79. Inferno
    Inferno, much like its predecessors, simply can’t work its way out of the disappointing middle ground between a slick, technically competent thriller and tongue-in-cheek absurdity.
  80. Michael Moore in TrumpLand
    TrumpLand is a valuable film for the open-minded, undecided voter, or those who can’t seem to reconcile their seeming dislike for Clinton with a vote for her; an extended rant on likability in politics is especially effective.
    • 71 Metascore
    • 91 Critic Score
    Oasis: Supersonic
    As entertaining as the film is – and boy, is it ever – there is still a feeling that Supersonic could have delved even deeper, as there are glaring omissions to the story.
  82. Boo! A Madea Halloween
    This is another bad Perry film, but a curiously verbose one with jokes piled atop more jokes.
  83. 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.
  84. Rainbow Time
    As with most Duplass-produced films, Rainbow Time perhaps ambles a bit too awkwardly into its ending. But, if it weren’t already clear, this is a messy movie about messy people, unique in both its character dynamics and worldview.
  85. American Pastoral
    The film’s a fundamental fiasco of tone and timing.
  86. First Girl I Loved
    What writer and director Kerem Sanga captures so well in First Girl I Loved is high school. What he captures even better is falling in love, or the naïve idea of what it means to be in love as a teenager.
  87. Jack Reacher: Never Go Back
    It’s two solid hours of disposable, forgettable action-thriller filmmaking with a competent Cruise performance in the middle.
  88. Ouija: Origin of Evil
    Flanagan’s scares are so precise, so exquisitely timed, that they’re able to imprint the mind as much as quicken the pulse.
    • 53 Metascore
    • 42 Critic Score
    Billy Lynn's Long Halftime Walk
    Don’t let Billy Lynn’s Long Halftime Walk‘s technical achievements carry the full weight of its errors. The plot and its poor execution leave the camerawork struggling to find much to dazzle with.
  90. 20th Century Women
    Despite the gender gap between the film’s creator and his subjects, the film is beautifully perceptive and, at times, deeply poignant. Mills has created the kind of comedy in which you laugh with recognition because its dilemmas feel so familiar.
  91. 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.
  92. Shin Godzilla (Godzilla Resurgence)
    If the film often takes an aggressive approach to driving this central thesis home, Shin Godzilla manages to negotiate a difficult balance between delivering the monster movie thrills promised by its central creature and a film that utilizes those thrills in service of something more substantial.
  93. 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.
  94. Julieta
    If Julieta weren’t such a crushing bore, it might have been a lusty little delight.
  95. Toni Erdmann
    What makes Toni Erdmann, the finest comedy in recent memory, so wonderful and beguiling is the deep undercurrent of sadness that informs its eventual life lessons.
  96. Tower
    This unique blend of docudrama, action movie, and cartoon immerses the viewer in a way that wouldn’t be possible in a more traditional film.
  97. The Girl on the Train
    The film’s flaws aside (those will come later), Blunt’s performance is a hell of a thing, wholly lacking in vanity and brimming with honest, ugly feeling.
  98. 13th
    13th — at times dampened by its own enormous ambitions — would be even more effective if it tried to do a little less.
  99. Paterson
    One of the director’s finest to date, the film derives its unique power from the repetition of daily life, elevating the mundane to a kind of divinity.
  100. Gimme Danger
    Gimme Danger checks the usual rock doc boxes, but it succeeds because of its smashing subject matter. The Stooges may not be the greatest musical act in history, but they are one of the most lively subjects for a documentary.
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