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. Dheepan
    It’s a shame, given all of the film’s strengths, that Dheepan takes such a precipitous nosedive in its final act.
  2. 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.
    • 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.
  4. The Nice Guys
    The Nice Guys spends nearly two hours treating Crowe and Gosling like a pair of piñatas, beating them mercilessly and unapologetically, and it’s watching them crawl out from underneath and towards some form of redemption that makes the film a genuine smash.
  5. Money Monster
    The direction and editing are slick and workmanlike, letting the performers do the work without overplaying the limited setting in which most of the film takes place.
  6. Love & Friendship
    Love & Friendship is easily the funniest movie Whit Stillman has ever made. His bristling screenplay — which shows shades of Noël Coward and Evelyn Waugh — has so many impeccable one-liners that it would take three or four viewings to catch them all.
  7. Last Days in the Desert
    Last Days in the Desert explores Jesus in his most mortal phase, and McGregor’s exhausted performance is essential to its success.
  8. A Bigger Splash
    Guided more by emotion and imagery than by any conventional plot, A Bigger Splash is a wicked, mysterious, ceaselessly sexy, and experiential carnal summer whirl.
  9. High-Rise
    On the whole, High-Rise hits more often than it misses. It’s a playfully demented and dry evisceration of the tenuous hold that modern western civilization has on civility, walking a fine line between the best genre horror and the loftiest of intellectual indie cinema.
  10. X-Men: Apocalypse
    There’s a same ol’, same ol’ wash to X-Men: Apocalypse that wasn’t quite as apparent in the previous two entries.
  11. The Family Fang
    What’s most unfortunate is that The Family Fang leaves so many ideas on the table that would have made for a far more fascinating film, one befitting its unique premise.
  12. Rio, I Love You
    Rio, I Love You is worth a passing look for its pot of talent.
  13. Dark Horse
    It’s a feel-good story enlivened by the fact that there’s no overly sentimentalized hokum to be found.
  14. Captain America: Civil War
    By firmly rooting all of the film’s sprawling drama in a singular conflict, directors Joe and Anthony Russo manage to do what many superhero films have struggled with in recent years: find a truly effective reason to pit superpower against superpower.
  15. Special Correspondents
    As a comedian, Gervais hardly lacks a sharp perspective. The Office showed him to be a merciless satirist of workplace culture. But when it comes to international politics, the comedian lacks the keen insight to say anything that hasn’t already been said by other filmmakers.
  16. 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.
  17. Keanu
    Keanu gets a lot of things right, and almost just as many things wrong. Still, there’s absolutely enough here to make it worthwhile, especially if you’re a Key and Peele fan.
  18. 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.
  19. The Meddler
    The Meddler is a delightful film with an emotional honesty that can be traced back to the real-life mother of writer/director Lorene Scafaria. Perhaps if Scafaria trusted the strength of that truth an inch or two more, it would be enough to avoid distractions along the way.
  20. King Cobra
    King Cobra is a movie that’s just good enough to make you wish it were even better.
  21. Fireworks Wednesday (2006)
    The film possesses a quiet, considered tension that draws the viewer in.
  22. Elvis & Nixon
    Elvis & Nixon will not go down as the best movie you’ll see this year, but it very well may be among the most purely entertaining.
  23. The Jungle Book
    It’s a marvel of filmmaking created from nothing (and one of the more meaningful uses of 3D in recent memory as well), and Favreau stages one scenic tableau after the next with uncommon skill.
  24. Sing Street
    Few films are ever as enjoyable and endearing as Sing Street.
  25. Green Room
    The plot unravels beautifully, at a pace that’s methodical but still anxiety-inducing, building up an air of psychological fear so impenetrable that the only relief from it is an occasional splattering of visceral horror or an even more rare quip along the way.
  26. Hush
    Hush‘s madman makes himself visible and vocal to his prey from the get-go. As a result, Flanagan and Siegel both get to lay their cards on the table early, freeing up their characters to focus solely on how to outsmart one another.
  27. Louder Than Bombs
    Louder Than Bombs is a ghost story disguised as a domestic drama.
  28. The Boss
    After their muddled but well-meaning Tammy, McCarthy and her husband Ben Falcone’s follow up is a superior mix of jokes, to the point that even when the film misses its mark, McCarthy and her crew wheel and deal to the bitter end.
  29. Hardcore Henry
    The film starts to risk adrenaline fatigue after the first hour.
  30. Demolition
    Much like the characters themselves, all of these off-kilter and seemingly disparate elements come together far better than they should and something just a little beautiful happens as a result.
  31. The Invitation
    The Invitation is supremely well-crafted.
  32. God's Not Dead 2
    There is a tone of anger that sneaks out of the film in even its moments of levity.
  33. 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.
  34. Kill Your Friends
    Kill Your Friends is effective and enjoyable in the way that dusty music compilations are.
  35. Born to be Blue
    Born to Be Blue serves as an honest and heartfelt ode to not only Chet Baker, but those who revel in the occasional highs and neverending lows that overwhelm the pursuit of art.
  36. My Big Fat Greek Wedding 2
    My Big Fat Greek Wedding 2 is about as unmemorable a movie as you’ll find in 2016. Everything about it, from Vardalos’ screenplay to the limp retreads of the first Greek Wedding’s better moments, stinks of an extended HBO special that somehow made its way to theaters.
  37. Krisha
    Krisha, directed by first-timer Trey Edward Shults, is a masterful opera of discomfort and hurt feelings.
  38. Batman v Superman: Dawn of Justice
    Batman v Superman: Dawn of Justice isn’t a film. It’s a two-and-a-half-hour movie trailer. Better yet, it’s one of those videos that pop up on screens before a ride at Universal Studios, where all the actors speak to you and keep hinting at bigger things to come — you know, like a ride? Basically, it’s everything the SEO-friendly title promises — and more.
  39. Eye in the Sky
    It’s a film with no easy answers, and rightly, Hood doesn’t strain to offer them. If the film’s attempts at barbed satire don’t land as well as its graver moments, it’s nevertheless an effective look at the new kind of war.
  40. Pee-wee's Big Holiday
    It’s not exactly the repeat masterpiece of yesteryear, but that was never going to happen. Instead, it’s a proper and agreeable reunion for fans who grew up, but still have that hungry desire to toss aside reality and enjoy a little unadulterated fun.
  41. 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.
  42. 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.
  43. My Golden Days
    Arnaud Desplechin delivers a thrilling reminiscence that romanticizes and believes in youth’s ungraceful but intense splendors.
  44. Don't Think Twice
    Don’t Think Twice is a brisk, engaging watch. It’s sweet, it’s melancholy, and, perhaps most importantly, it’s hilarious. And despite the film’s soft teeth, it’s still the most honest and unfiltered exploration of improv comedy you’re likely to find out of Hollywood.
  45. Midnight Special
    Only in its final stretch does Midnight Special start to lose its distinct identity.
  46. Everybody Wants Some!!
    A lot of it’s funny — especially any scenes involving Powell’s admittedly charming Finnegan or Hoechlin’s testy McReynolds– but hanging out with these guys eventually becomes a chore.
  47. The Brothers Grimsby
    Grimsby’s provocative, but not stupid. It knows what kind of humor it wants to achieve, and often scores big.
  48. Embrace of the Serpent
    This is that rare film that has the power to transform, to shake one’s belief system so thoroughly that one feels like a slightly different person walking out of the theater.
  49. 10 Cloverfield Lane
    Approach 10 Cloverfield Lane on its own terms, let Trachtenberg and his top-notch cast (Mary Elizabeth Winstead, John Gallagher Jr., and a ferocious John Goodman) yank you into their world, and try not to sweat through your clothes.
  50. Creative Control
    Creative Control ably captures the entitled narcissism of modern Brooklyn twentysomethings by way of a plausible near-future,
  51. Knight of Cups
    There’s a note of reflexive, self-aware irony to it, but portions of Knight of Cups feels as though they’re indulging in precisely this same kind of early-college navel-gazing.
  52. The Wave
    To have seen a disaster movie before is to have seen The Wave. But if there’s not necessarily anything remarkable or new about the film, Uthaug finds ways to make the familiar immediate, with a fraction of the money usually involved.
  53. Whiskey Tango Foxtrot
    Fey delivers the performance like the super-capable talent she is, with range and authenticity. She’s a character with a fully expressed arc, foibles and all. She’s the dramedy’s best weapon.
  54. Zootopia
    There’s a depth to the city that shows how far the form has come in a short time, and Zootopia is better off for it, especially when it still ultimately doesn’t break away from the familiar Disney formula as much as some of the studio’s other recent films have managed.
  55. Right Now, Wrong Then
    The way Right Now, Wrong Then yields different results, moods, and beats as the result of minor shake-ups in the opening scenes is beyond fascinating, often charming, and at times amusingly uncomfortable.
  56. Holy Hell
    Holy Hell ropes us in with tales of delusion before chilling us with tales of terror.
  57. London Has Fallen
    London Has Fallen is terrorism porn, an alarmist, jingoistic piece of CGI-soaked garbage that implores its audience to fear nothing after sensationalizing the slaughter of innocents and the destruction of a major city.
  58. Triple 9
    It’s great when a film leaves you wanting more, but not when you weren’t given much to begin with.
  59. 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.
  60. Mad Max: Fury Road
    Not only has George Miller made an effective return to the wasteland of the Mad Max universe with Mad Max: Fury Road, he has surpassed most action films released … well … ever.
  61. 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.
  62. Race
    Race is a film best enjoyed for its mild ambitions and accomplishments, which easily beat out its missteps.
  63. The Witch
    It falls short of an instant classic. It’s not a mind blowing achievement in horror. But The Witch is a solidly good film.
  64. Mountains May Depart
    Perhaps the film’s most striking quality is its restraint. Thematically and stylistically, it’s a film of quiet medium shots, long takes, and clear but evasive words. Every choice is tiny, but humane and usually deliberate.
  65. Zoolander 2
    Zoolander No. 2 invokes that old Simpsons headline: “old man yells at modern culture.”
  66. How to Be Single
    How To Be Single doesn’t break much at all in the way of new ground, but it’s a decent walk over well-trodden territory.
  67. 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.
  68. Diamond Tongues
    Although it stumbles a bit at the end with a self-aware redemption that isn’t entirely earned or particularly in character, Diamond Tongues is still a brilliant and realistic portrait of the young artist as a bitter borderline failure.
  69. The Choice
    For a film that hinges so much on the chemistry and charm of its two leads, it’s tough to recommend The Choice on even those grounds.
  70. Where to Invade Next
    It’s a very good op-ed in favor of America’s ability to live up to its potential and build itself into a country that actually represents the idea of liberty and equality that it’s espoused for so long. Thanks to the humor with which it’s presented, it’s also a pretty decent testament to the potential future of the country’s satire.
  71. Hail, Caesar!
    There’s a lot going on in Hail, Caesar!, but in the end, it’s all a bit too silly to register as important.... Nonetheless, Hail, Caesar! satisfies that one criterion that matters most in Hollywood, and will for time immemorial: it’s entertaining as hell.
  72. Pride and Prejudice and Zombies
    A comedy of manners and femininity gets bisected by gnarly effects, and the two-tone approach works in its way.
  73. Swiss Army Man
    Frenzied, kinetic filmmaking is hit or miss, but The Daniels are showcasing their talents as opposed to showing off.
  74. 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.
  75. Wiener-Dog
    You’ll laugh, you’ll cringe, you’ll wince, and you’ll sigh. Such is the genius of Wiener-Dog, and of Solondz, and why he remains a reliable visionary.
  76. Under the Shadow
    The Iranian filmmaker wisely uses the genre to work through themes of oppression, rebellion, and femininity without ever politicizing the film. This is prestige horror, the kind with tricks and treats that arrive with purpose and linger for years.
  77. Southside with You
    Southside with You is a rewarding bite-sized drama, rich with characters who we already know, but also don’t really know.
  78. Jane Got a Gun
    "Jane" eventually comes alive, even if Jane never truly does.
  79. 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.
  80. Other People
    The performances are so strong in Other People that they just about make up for the weak storytelling. Maybe “weak” isn’t the best definition for writer/director Chris Kelly’s debut feature film, but its structure definitely pales in comparison to all the effort given on screen.
  81. Morris from America
    At points the film simply observes the smaller, more innocuous moments of a coming-of-age story; much of it is framed in intimate medium shots and close-ups, and there’s a distinct kinship between the numerous wayward souls in its world that carries it along.
  82. The Lure
    The Lure somehow manages to seamlessly assemble a film equal parts hilarious, affecting, and grisly while trading and warping aesthetics and tones by the scene.
  83. The Lovers and the Despot
    As both an utterly mad true story and as a document of the boundless reach of the cinema across borders and cultures and even ideologies, The Lovers and the Despot is wild, valuable viewing for all.
  84. Lo and Behold: Reveries of the Connected World
    If Lo and Behold is more just a collection of interviews on a series of themes than a cohesive piece of storytelling, it’s still a fascinating endeavor into how the Internet went from personal to unimaginably broad and how it could either continue to expand or perhaps even return to that infant phase again.
  85. Kate Plays Christine
    Much of Kate Plays Christine is more of a form exercise than it is a documentary portrait, which works to both the film’s benefit and detriment.
  86. 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.
  87. The Intervention
    Despite its flaws, the film still manages to win you over, even if it never actually surprises you, making it quite an assured debut.
  88. The Fundamentals of Caring
    It’s true that few movies are this aw-shucks nice these days, and for a short while The Fundamentals of Caring finds ways of retaining that kindness without lapsing into platitudes.
  89. The Free World
    Animal shelter/prison facility parallels become too heavy-handed, and performances packed with emotion give way to on-the-lam clichés.
  90. Frank & Lola
    Frank and Lola is an electric modern noir that thrives from indelible characters and a palatable style.
  91. The Finest Hours
    The Finest Hours is exactly that. Fine, while embracing its studio aesthetic and morally true heroism.
  92. Indignation
    Indignation resonates at times with the tension of things said and unsaid, regretted and forgotten.
  93. Dark Night
    There are moments of true terror to be found among the silence and the encroaching existential dread in which the film deals most prominently.
  94. Goat
    Goat deals with masculinity, fraternities, and PTSD in equal doses, covering all of them with brutal precision and most importantly, success.
  95. Complete Unknown
    Something’s missing in Complete Unknown, and it’s a spiritual issue. The problem is that for this situation, the unlikely reunion, a natural approach restricts any and all sensationalism, which is why the ending neither bruises nor squeezes — it just lingers.
  96. Christine
    A subplot and a longer-than-necessary runtime threaten to undercut Hall’s performance, but in the end the movie succeeds as a solid investigation into the day-to-day life of one suffering from depression.
  97. Certain Women
    It’s an ode to this country’s oft-forgotten middle, where the struggle is, indeed, very real. As such, Certain Women is not always thrilling, but it’s certainly faithful.
  98. The Birth of a Nation
    The Birth of a Nation is one of the most confident writing and directorial debuts in recent memory.
  99. Miles Ahead
    In fits and starts, the film matches the fire of its lead performance. Miles Ahead is far from a traditional, boilerplate music biopic, for better and worse alike.
  100. The Lobster
    The Greek filmmaker builds a stunning world with The Lobster, and much of its success stems from the inherent mechanics and the less-is-more storytelling that drops empty spaces for the mind to paint.
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