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. On the Count of Three
    Even as On the Count of Three tumbles toward an ending as unpredictable as it is slightly unearned, the bones of its central performances and unabashed embrace of its concept keep you glued to the screen.
  2. 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.
  3. A Quiet Place
    The careful, strategic navigation of silence and noise is the film’s greatest asset, and when it explores this tension, and the way in which it impacts both the characters and monsters, the result is vibrant, urgent, and innovative.
  4. Caught Stealing
    Caught Stealing is a very different vibe, the furthest thing from an Oscar play but still a surprisingly enjoyable time, a movie where even the end credits have real life and spontaneity to them. And in many ways, it’s still recognizably an Aronofsky movie — which is perhaps its most remarkable achievement.
  5. Underwater
    Underwater is a solid creature feature that isn’t afraid to acknowledge its sub-genre predecessors. Kristen Stewart shines amidst a mostly likable cast, anchoring a film that moves at a relatively brisk clip, particularly in its bombastic opening and closing sequences.
  6. Star Wars: Episode VII - The Force Awakens
    Abrams and Kasdan’s respective humor and pathos push the characters beyond some of the more rote and redundant storytelling. So while it’s not always compelling, it’s always fun.
  7. Eddington
    Opinions can range about whether Aster effectively captured this moment in time, or if this movie would have been more relevant if it had come out a few years earlier, when these memories were even fresher in our heads. But what feels both more important and undeniable is the intentionality with which he takes on this era, in all its ugliness.
  8. 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.
  9. The LEGO Movie 2: The Second Part
    The Second Part is a film almost wholly redeemed by its climax, a culmination of unexpected plot threads and surprisingly sweet character development that ends up making the whole more valuable in hindsight.
    • 61 Metascore
    • 75 Critic Score
    Daniel Isn't Real
    Daniel Isn’t Real is exploitation that eschews the trashier elements of the genre. As a director, Mortimer frames a great shot and pulls gangbusters performances out of Robbins and Schwarzenegger. It’s minded, but also massively entertaining genre cinema.
  11. Wonka
    Wonka’s throwback charms make a striking enough impression, especially with Chalamet in the role, that the idea of another musical Wonka adventure isn't at all objectionable. If, that is, they skip the fat suit next time.
  12. RBG
    There’s certainly an argument to be made that Ginsburg’s patient “one step at a time” philosophy is no longer the ideal approach, especially in an era where the power of female anger is being reclaimed. But RBG convincingly argues that Ginsburg herself is a figure worth admiring, whether or not you agree with her politics and whether or not you like those memes.
  13. 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.
  14. Tag
    Like the real figures at the center, all the schemes and tricks and traps are just the way these men express their sincere affection for one another. That’s sweet enough, but the way their loved ones also get wrapped up in the game as well makes Tag, as corny as it might sound, a testament to the transformative power of play.
  15. Between the Temples
    Between the Temples is a bit slight, but brings with it a lot of sweetness, especially thanks to Schwartzman and Kane, and the chemistry they find together.
  16. Gerald's Game
    Despite a handful of faults, it’s that rare horror film that works on both a psychological and a visceral level.
  17. Silent Night
    This sort of small-scale revenge piece is a pretty common occurrence in the direct-to-VOD market, but what elevates Silent Night is Woo’s skill with action, in concert with the lack of dialogue.
  18. Support the Girls
    Support the Girls is the kind of film that sneaks up on you as it’s going along.
  19. Asteroid City
    I still don’t know whether all (or even most) of Asteroid City’s ideas coalesce, so scattershot is the film’s pacing and plotting. But from moment to moment, it charms and moves in ways only Anderson can deliver.
  20. Swiss Army Man
    Frenzied, kinetic filmmaking is hit or miss, but The Daniels are showcasing their talents as opposed to showing off.
  21. 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.
  22. The Ballad of Lefty Brown
    Moshe’s approach turns the Western genre on its head by having the sidekick rise up as the hero.
  23. Army of the Dead
    Snyder’s momentum starts to lose steam around the 90-minute mark, and there are too many kooky concepts left frustratingly unexplored. But as a showcase for Snyder’s deft command of action and ink-black sense of humor, Army of the Dead is an exciting piece of brain-chewing fun.
  24. 28 Years Later
    Boyle and Garland’s return to the franchise seems deliberately set on reinventing as many cliches as it can, while also exploding our assumptions about what a zombie movie might be. Make it to the end, and you’ll either be annoyed at its more over-the-top touches or delighted by the final bizarre moments. No matter what, you won’t be bored.
  25. 12 Hour Shift
    This strange and anxious mixture of the Working Women comedies of yesteryear (think: 9 to 5, Baby Boom, and Working Girl) with the cramped hospital horror shows of our Saturday night sleepovers (recall: Visiting Hours, Halloween II, and Dream Warriors) is always compelling, always nerve-wracking, mostly funny, and agreeably gross.
  26. 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.
  27. Free Guy
    But there’s something surprising about its approach to both blockbuster filmmaking and Ryan Reynolds star vehicles. It’s at once a Deadpool riff and the absolute opposite, a violent video game movie that’s about how fighting isn’t actually the answer. And what’s more, it commits to those lofty aspirations, couching a sweet little love story in the CG-addled mayhem of a Ryan Reynolds action-adventure flick.
  28. Passing
    There just isn’t enough clarity to properly gauge what Passing is trying to say and who it’s for beyond the dazzling portraits and memorable performances.
  29. The LEGO Batman Movie
    Given the sheer volume of jokes on hand, it’s impressive how often LEGO Batman successfully lands its punchlines.
  30. La La Land
    The superficial thrills of the genre are all present and adoringly rendered, but the actual purpose of the whole exercise is much harder to discern.
    • tbd Metascore
    • 75 Critic Score
    Slayer: The Repentless Killogy
    The film is certainly worthy of a legendary metal band like Slayer. The inclusion of Live at the Forum makes the package even sweeter, documenting the band’s latter era as they approach the end of their touring career. Thanks to Johnson and Isham, the band finally has the proper visual supplement they deserve.
  32. Raiders!: The Story of the Greatest Fan Film Ever Made
    Raiders!, as a documentary, is much like Zala and Strompolos’ film in that it’s rough around the edges at points, but so utterly sincere that it’s hard to deny after a while.
    • 60 Metascore
    • 75 Critic Score
    Lightyear
    If Lightyear is a spaceship heading to infinity and beyond, it's a little bit stuck in its own solar system for now — but that doesn't mean it's not worth the ride.
  34. 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.
  35. Upgrade
    Upgrade’s sheer energy and the strength of its concept do more than enough to elevate this revenge picture into something refreshing and eminently watchable.
  36. 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.
  37. Always Be My Maybe
    While the charm of Always Be My Maybe can and should be attributed to its performers, there’s a real sweetness in its reframing of the romantic comedy as the struggle of two people who already have fulfilling lives, attempting to add to them by rediscovering lost pieces of themselves in each other.
  38. Family
    Much of Family‘s humor comes from the juxtaposition of Kate and Maddie’s bonding with moments of pitch-black selfishness.
  39. Deadpool & Wolverine
    Deadpool & Wolverine is serviceable in its worst moments and a lot of fun when it's really cooking. Yet if your expectations for Deadpool & Wolverine include a clean explanation of where the Marvel multiverse stands following the Disney/Fox merger (and other related deals), perhaps lower them.
  40. The Instigators
    There’s a lot to be said for a movie that knows exactly what it wants to be and hits that exact mark; it’s not that The Instigators lacks ambition, but like its characters, it doesn’t dream too big. It shows up to do its job — finding the fun.
  41. Dual
    The results are deliciously off-kilter, even if the sci-fi world Stearns has created is somewhat clumsily reverse-engineered to make his central premise possible.
    • 85 Metascore
    • 75 Critic Score
    The Fabelmans
    It might not become anyone’s favorite Spielberg flick, but it will certainly stick with you long after you watch it.
  43. 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.
  44. Damsel
    Narratively, the Zellners are always looking to zag, and while that leads to some surprising passages, not all of them are safe. Instead, they often spill into dead ends, forcing them to backtrack and carry on elsewhere.
  45. Anon
    While the film’s final thesis is a Facebook post with typos at best (delete your accounts, and so on), Niccol is still terrific when he’s breaking down rules, questioning protocol, and testing new ideas.
  46. Beetlejuice Beetlejuice
    The original cast brings plenty of spark, with Ryder ably carrying the film’s emotional arc and Keaton glorying in getting to be this goofy.
  47. Thor: Love and Thunder
    The surface-level delights are pretty damn delightful, as is Waititi's ability to just let things be strange for no clear reason other than, well, it's fun or cool or hilarious.
  48. Emma.
    By simply putting forth Emma as is, with little argument or persuasion in either direction, de Wilde takes Austen’s long-storied notion that her protagonist is “a heroine whom no one but myself will much like” and antes up, highlighting the tarnished parts, the Emma Woodhouses if you will, in us all.
  49. Ant-Man and the Wasp
    Despite its considerable charms, Ant-Man and the Wasp is decidedly not a must-see event. In fact, it sometimes feels less like a movie than an episode of an ongoing superhero TV series. But it’s a really, really good episode of that series. And it’s the perfect antidote for the gravity of Infinity War.
    • 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.
  51. Captain Marvel
    There are touches of the freshness that percolated through Black Panther and Thor: Ragnarok, two films that brought new points of view, loads of promise, and no small amount of political and social resonance to the MCU, but only a little of the sense of newness and boldness that Ryan Coogler and Taika Waititi’s films had in abundance.
  52. Wonderstruck
    Wonderstruck is full of ache and of loss, and each stings just a little differently. The ache of a movie-that-could-have-been stings less than the rest, but it’s there, and more’s the pity.
  53. Miss Americana
    Whether as an amped-up look into a great singer-songwriter’s musical process from page to stage, or a deeper dive into the psyche of America’s most frustratingly composed artist, Miss Americana feels insightful and hypnotic.
  54. Irresistible
    Yes, Irresistible is a farce about political theater, and an often painfully funny one, but it’s also a deeply unnerving manifesto on the pundit economy, campaign financing, and the narcissism, ego, and collective amnesia it all fosters.
  55. Dayveon
    Dayveon’s muted, largely allusive storytelling takes a backseat to tone and place throughout, and Abbasi demonstrates an assured command of both.
  56. Mascots
    It might be a lesser addition to the Guest oeuvre, but it’s a welcome one nonetheless
  57. Jakob's Wife
    Jakob’s Wife is a fun throwback to gory vampire horror, but its gory surface covers some troubling implications. The problem lies in presenting two oppositional arguments and not fully interrogating either of them.
  58. Alita: Battle Angel
    Like its unstoppable heroine, Alita: Battle Angel is something strange and unique and special, built from the finest repurposed parts.
  59. The Light Between Oceans
    The Light Between Oceans is an effective melodrama, but the lingering sensation the film leaves after its end is that it might have been much more.
  60. Ralph Breaks the Internet
    There’s a thoughtful, kid-friendly parable about the hazards of internet fame somewhere in Ralph Breaks the Internet, but its aim is so scattershot that it only emerges in fits and starts.
  61. Oasis Knebworth 1996
    More than a concert doc and less than an artist profile, Oasis Knebworth 1996 hits that sweet spot of giving misty-eyed Oasis fans what they want: A glimmering look back at one pleasant weekend and the life-changing music that defined it.
  62. No Hard Feelings
    No Hard Feelings ends up belonging to Andrew Barth Feldman, who very soon may be one of Hollywood’s go-to leading men (following his year-long stint as the titular role in Dear Evan Hansen). Despite the script’s slightly jumbled ending, Feldman aces his character’s transformation, and finds dozens of moments to truly shine.
  63. The Kitchen
    At its most basic, this is a conventional talkie, rooted in Warner Bros crime history, happy to play with cliché. At its most audacious, The Kitchen is a welcome flip on the generally male-dominated script. And at its most pleasing, this is a popcorn flick, with big moments, great pops, and three stars giving it their all, having one out in the street, making big moves for the people.
  64. Happy End
    A Haneke who’s treading water is still a bizarrely entertaining filmmaker, but the fun is tinged with a hint of disappointment and a certain feeling of lost opportunity.
  65. The Moment
    For Charli’s most devoted fans, The Moment offers worthwhile glimpses into her creative process and the pressures she navigates, but as either comedy or commentary, it never quite breaks free from the very commercial constraints it sets out to expose.
  66. Alien: Romulus
    Romulus feel torn between Alvarez’s desire to tell a new story in the Alien universe and 20th Century Studios’ desire for a fan-servicey thrill ride.The frustrating thing about it is that, moment to moment, it very much works.
  67. Imperial Dreams
    Where Imperial Dreams occasionally wavers is in its unsubtle storytelling, which often feels at odds with Vitthal’s appealing and naturalistic direction.
    • 51 Metascore
    • 67 Critic Score
    Day Shift
    Day Shift is one of Netflix’s better action flicks, even if that’s faint praise given the streamer’s weak track record. Perry’s action scenes are fast-paced, with inventive flourishes like the moments where combatants pass a mirror and the vampires’ reflections can’t be seen...But the comic relief is hit-and-miss.
  69. Tony Hawk: Until the Wheels Fall Off
    Skating fans and Hawk aficionados will find a lot to like ... But it’s frustrating to see Jones’ approach fail to dig much deeper into the man than we’d already expect, opting instead to more broadly elaborate on the low-key death wish a lot of skaters seem to engage in.
  70. Blockers
    Director Kay Cannon‘s perspective is the film’s biggest asset, as it freshens up the traditional formula’s inevitable focus on love, consent, and orientation in ways that maintain the sub-genre’s trademark raunch.
  71. 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.
  72. The Post
    It’s the kind of film that ultimately makes you count your blessings, root for the good guys, and maybe even shed a tear or two at the sight of the press kicking ass.
  73. Zack Snyder's Justice League
    It’s rough, messy, and overlong, but may well capture the well-intentioned spirit of what it’s trying to do better than the compromised version we got at release. It may even be something I revisit in the future — just maybe not all in one sitting.
  74. The Last Voyage of the Demeter
    Admittedly, big stretches of Demeter are a bit overwritten and unnecessary; there’s no real need for a film like this to exist, especially considering we know how it’ll all turn out. But as long as it’s here, it might as well be celebrated for what it is: lean, effective nautical horror of a type we don’t often get anymore. Seaside scares are a rare thing these days, especially when Øvredal packs this much atmosphere and characterization into such a wafer-thin premise.
  75. Knocking
    Knocking is an uneven film. Despite strong direction by Kempff in her feature debut and a daring, go-for-broke performance by lead actress Milocco, there’s just not enough weight in these hollow knocks and the payoff doesn’t feel earned or substantial enough.
  76. 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.
  77. Wicked: For Good
    For Good doesn't successfully sell Elphaba's decree that "no good deed will I do again," one of the movie's many muddled moments. It does, however, reflect an age where every message feels muddled, no hero can be trusted. All we know is that something is rotten here.
  78. Lizzie
    Lizzie isn’t exactly an exciting film, but it’s absolutely a compelling one. Much of that, again, emerges from Sevigny’s work, who finds the notes of delicacy that the film around her occasionally lacks.
  79. 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.
  80. An American Pickle
    An American Pickle is cute — nothing more, nothing less. It’s not laugh-out-loud funny; it’s folksy funny. This is chicken soup for the soul, arriving at a time when Americans could use a balmy parable on family and tradition.
  81. Macbeth
    It’s a fierce, visceral vision with a superb cast, that one suspects was more focused on pumping up Macbeth than reminding people why it’s such a lasting cautionary tale.
    • 46 Metascore
    • 67 Critic Score
    The Addams Family
    At the end of the night, The Addams Family is a comedy, and a good one at that, delivering the kind of morbid humor that reminds us why we’ll always accept their invitations.
  83. Roman J. Israel, Esq.
    Roman J. Israel, Esq. is sometimes a compelling movie and often a difficult one to keep with, but it’s a flawed challenge that you’ll be grateful you gave a chance all the same.
  84. The Final Year
    The Final Year may feel like a fly-on-the-wall production, but there’s an element of careful curation in the personalities and events shown that undercuts some of their earnestness.
    • 71 Metascore
    • 67 Critic Score
    The Wonder
    The Wonder is… fine. Just fine. The movie’s exploration of big issues like religion, and how stories are more important to us than the reality we live in, will cause many to think and reflect, and that’s not a bad thing. Without getting into spoilers, the ending’s expected turn twists a tale that could be a dirge into one that inspires hope.
  86. Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    It’s fascinating when Smith chronicles Carrey’s stunt in tandem with gags he tested on late night shows.
  87. Under the Cherry Moon
    Like Prince’s music, perhaps this film is best taken in for its sensation and not its literal output. That, and the dialogue is just ridiculous. But Prince looks cool, owns his story’s loose ideology of churlish change, and stages some marvelously ornate shots.
  88. 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.
    • 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.
  90. Small Axe: Alex Wheatle
    You may not come away feeling like you know much about Wheatle himself, but you get to spend an hour in his shoes.
  91. Cruella
    Stone, Thompson, and the gang are all having a ball wearing incredible costumes and living up a squeaky-clean version of ’70s punk fabulousness, and it’s hard not to let that infectious glee take over for a while.
  92. Cold Pursuit
    The little beats throughout Cold Pursuit are distinctive enough to cover for this gory caper’s periodic misfires.
  93. Wendy
    Whether you like Wendy will depend almost entirely on your continued tolerance for the baby-Malick stirrings of Zeitlin’s style: roving, evocative camerawork; the unpolished roughness of unknown child performers; treacly sentiment pouring from each horn blast of Romer’s score; or France’s storybook narration. At nearly two hours, that’s a lot of syrup to pour down your throat, and the unapologetic mawkishness of it all can rankle after a while, even if you’re attuned to the film’s wavelength.
    • 79 Metascore
    • 67 Critic Score
    Bad Education
    Great performances but not enough revelations.
  95. TRON: Ares
    TRON: Ares doesn’t seem poised to change the culture in anything resembling a similar way; while it has a lot more life to it than the inert TRON: Legacy, Ares keeps its focus on big spectacle as opposed to big ideas.
  96. 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.
  97. Child's Play
    Child’s Play is pure entertaining fun for the horror fan, but not much else. It doesn’t reinvent the wheel, nor does it offer much depth, particularly with its characters. While the cast is amiable enough, they’re mostly surface-level archetypes.
  98. Meg 2: The Trench
    Still, as giant shark movies go, it’s a far more coherent entry in the genre than others, with effects work that’s several notches above the rest.
  99. Wonder Woman 1984
    The messy plot will lose some, and others will find its over-saccharine emotions a reach, but to paraphrase Steve’s description of flight: If you can catch the movie’s uplifting wind, it will transcend the sum of its parts.
    • 66 Metascore
    • 67 Critic Score
    Chip 'n Dale: Rescue Rangers
    Right from the start, Chip n’ Dale: Rescue Rangers knows what it wants to be. It’s clever! It’s playful! It’s meta! Turning the story into a tale of Hollywood has-beens is surely intriguing, and the appeal of the chipmunks investigating a neo-noir mystery largely worked in its favor. However, all the hard-boiled, real world capers may leave fans of the original longing for an altogether different type of revival, more in line with Disney+’s successful, if tragically canceled, reinvestment in DuckTales.
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