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. Fighting with My Family
    Between its continuous insistence on broad humor and its lack of broader context about the industry period in which Paige came up (she was among the first womens’ wrestlers in WWE to break out when the division gained traction after years of public degradation), Fighting With My Family ultimately reveals itself as a shallow take on a genuinely fascinating story.
  2. Super Troopers 2
    Super Troopers 2 amounts to nothing more than a limp reunion tour where they seem to feel obligated to play the hits.
  3. Captain Fantastic
    Captain Fantastic loses its intriguing premise in a muddle of ideas about the redemptive power of family and the right of all people to live as they please.
  4. Maze Runner: The Death Cure
    Director Wes Ball frames the film as one long siege on the central city with few exceptions, and while that lends it a certain sense of momentum, after a while the sensation of watching it turns into one of checking off boxes
  5. Otherhood
    Nominal laughs plus three reliable actresses equals the very mediocre Otherhood.
  6. 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.
  7. Ride Along 2
    Hart, the firecracker that he is, has a fitting comedic (and crime-fighting) partner out there somewhere. But it’s not in the Ride Along series.
  8. Dirty Grandpa
    If for one second you forget the diverging script, the weak direction, and Efron’s limitations, there’s something to be amused by with De Niro’s flagrantly foul-mouthed, horned-up grandfather figure.
  9. 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.
  10. Miss Peregrine's Home for Peculiar Children
    It’s visually sumptuous, a heady blend of Burton’s usual broken-doll aesthetic and some seriously impressive visual effects. And most importantly, while long, it’s rarely boring. The bad: It simply doesn’t add up to much.
  11. Proud Mary
    Henson, ever the magnetic performer, elevates so much of Najafi’s boilerplate direction with sheer presence alone; while the film consistently suffers from the tendency to bathe nearly every scene in maudlin strings and over-exposition, the actress manages to convey multitudes about Mary’s interiority with little more than a sustained gaze.
  12. Suicide Squad
    For all of the film’s nonstop, aggressive insistence on its subversive qualities, it’s about as radical and unconventional as a teenager buying a Leftover Crack shirt with their mom’s credit card from Amazon.
  13. Extraction
    If you’re looking for a lean-and-mean action picture where Chris Hemsworth absolutely bodies dozens of disposable henchmen, Extraction might fit the bill, at least for its first hour.
  14. 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.
  15. Once Upon a Deadpool
    Once Upon a Deadpool doesn’t offer nearly enough new gags to justify its cheeky family-cut re-release. Sure, the bits they add are great – Fred Savage’s hostage situation with Deadpool should have been a cool third of the film – but in the end, it’s a retread as limp as one of Wade Wilson’s re-growing limbs.
  16. 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.
  17. 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.
  18. 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.
  19. Tyler Perry's Acrimony
    That the film never fully gets to the heart of its savage commentaries is probably its greatest disappointment.
  20. 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.
  21. 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.
  22. 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.
  23. IO
    IO is dull, it drags, and it’ll beg the question: When will this, all of this, be over?
  24. Gemini Man
    A tonal miss and technical meh, Gemini Man arrives looking and feeling self-defeated.
  25. 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.
  26. 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.
  27. The Beach Bum
    Moondog’s antics aren’t all that funny or captivating, even when divorced from their assholery.
  28. Mechanic: Resurrection
    Mechanic: Resurrection plays in an uncommonly generic key, and the film only makes intermittent attempts to enliven the proceedings.
  29. 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.
  30. 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.
  31. 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.
  32. 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.
  33. 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.
  34. 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.
  35. 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.
  36. 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.
  37. 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.
  38. 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.
  39. 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.
  40. Tom Clancy’s Without Remorse
    Many shots fired, all of them misses. This is a film without quality, care, or any real decency.
  41. Zeroville
    The film isn’t — as crazy as this sounds — a total wash.
  42. 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.
  43. 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.
  44. 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.
  45. 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.
  46. 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.
  47. 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.
  48. 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.
  49. 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.
  50. 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.
  51. 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.
  52. 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.
  53. 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.
  55. 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.
  56. 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.
  57. Hunter Killer
    Hunter Killer has thrills, but they’re of the cheapest variety.
  58. 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.
  59. 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.
  60. 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.
  61. 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?
  62. 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.
  63. The Conjuring 2
    It’s slick and stylish to the point of distraction. This isn’t horror; this is exaggerated carnival fare.
  64. 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.
  65. 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.
  66. Rebel Moon Part 1: A Child of Fire
    In its current shape, Rebel Moon isn’t just boring; it feels hopelessly compromised.
  67. 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.
  68. The Prodigy
    While it’s a reasonably paced thriller, The Prodigy is almost wholly devoid of real scares.
  69. 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.
  70. 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.
  71. 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.
  72. 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.
  73. Cell
    Given the absurdity of the premise, Cell isn’t nearly as luridly entertaining as it should be.
  74. 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.
  75. 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.
  76. 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.
  77. 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.
  78. 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.
  79. 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.
  80. Mute
    Mute has gobs of style to burn, but it’s virtually the textbook definition of sound and fury signifying nothing.
  81. 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?
  82. Blair Witch
    Blair Witch is disappointing on multiple levels, all of which have nothing to do with the franchise.
  83. 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.
  84. 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.
  85. 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.
  86. All Eyez on Me
    All Eyez on Me is the opposite of an ideal biopic.
  87. Murder Mystery
    Murder Mystery is a dud, stained with slack humor and a total unwillingness to play within its own chosen genre.
  88. American Assassin
    American Assassin never transcends the exploitation at its core.
  89. 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.
  90. 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.
  91. Independence Day: Resurgence
    A curiously loud and ugly beast of a sequel.
  92. 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.
  93. 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.
  94. 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.
  95. 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.
  96. Fist Fight
    What’s most unfortunate about Fist Fight is the wealth of talent it amasses for little to no discernible purpose.
  97. 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.
  98. 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.
  99. 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.
  100. 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.
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