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. Hold the Dark
    The problem is that something never adds up to much of anything. Even thematically, the whole picture feels all over the place, oscillating hazily between half-baked meditations on man vs. nature and unfinished portraits of family values. Even so, Saulnier’s scope and visual endurance is admirable, to say the least, and it’s clear that he could do something this brazen eventually with a much stronger script.
  2. Overlord
    There’s little camp or gimmickry to be found, which is refreshing for a sub-genre whose films so often resort to bad jokes and kitsch violence.
  3. Under the Silver Lake
    Its aesthetics alone are enough to sustain interest over its two-and-a-half hour runtime, but its hefty length also leaves a lot to be desired in its messaging, if only because Mitchell actually does begin to flirt with a grander purpose at a certain point in the film.
  4. Bad Times at the El Royale
    Though not as unpredictable as the preceding two hours (and nowhere close to the dizzying final act of Cabin In the Woods), the resolution is still a lot of fun, straight out of a thrilling dime-store novel you’d keep by your bedside table.
  5. Night School
    The movie’s merely the latest A-list comedy of this sort, is happy to live in the middle, and yet it frustratingly outwears its welcome because of a lack of creativity and sloppy structure.
  6. The Sisters Brothers
    There’s a strangeness to certain passages of Sisters that bolsters it through its seedy saloons and cacophonous firefights, and it constitutes the best the film has to offer.
  7. The Old Man & the Gun
    Lowery is content to live with these characters and show them to his audiences in hopes that they, too, will fall in love with them, and he succeeds mightily.
  8. Suspiria
    By the time we finally do get to the blood and guts, the filmmakers have laid such an artful foundation that the viscera is just another part of Suspiria‘s hypnotic modern dance.
  9. Love, Gilda
    Whether the result of the film’s brisk 90-minute runtime, or a lack of desire to investigate some of its subject’s greater desires and fears, Love, Gilda feels breezy to a fault.
  10. Assassination Nation
    I might not be able to tell you what exactly Assassination Nation is, but the one thing I can confidently say is that it’s not easy to forget or dismiss.
  11. 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.
  12. High Life
    It is, for all of its action, and unexpected hints of the underbelly of humanity, and bodily fluids, actually quite a languid, melancholy film. It doesn’t shock its viewers, nor does Denis seem to have any interest in doing so. It quietly, meticulously unmoors them instead.
  13. Mandy
    Mandy is destined to live forever as a cult favorite, but what’s going to set it apart from so many others is the way in which Cosmatos sustains the emotional stakes of Red’s quest through the entire film.
  14. A Simple Favor
    If Double Indemnity were a hangout movie, this would be its sequel. It’s delicious.
  15. Mid90s
    As a writer and director, Hill demonstrates an endearing and encouraging empathy for his characters, crafting a portrait of adolescence that allows every emotion and every decision — from the most relatable at any age to the most boneheaded — to exist without irony, judgement, or condescension.
  16. White Boy Rick
    White Boy Rick is a collection of interesting enough scenes in desperate need of a more cohesive framework.
  17. First Man
    The way that Chazelle films the inside of a cockpit (claustrophobic, sensorily overwhelming, fraught with potential danger) and space (stark, haunting, stunning) are both testaments to what’s possible with the latest advancements in technology and vision in filmmaking. That said, it’s hard not to wonder why this particular film, as well-crafted as it is, was made now.
  18. 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.
  19. Roma
    Roma is both visually and emotionally arresting, grandiose and intensely intimate all at once.
  20. Slice
    To watch it is to open a pizza box that’s been jostled a few too many times. Inside, the cheese clings to the cardboard, sauce splashes against the sides, and pepperonis drip with grease. It might be sloppy, but you’ll be damned if it don’t still taste good.
  21. Widows
    It’s all deliciously fun and deliriously devious, but Widows isn’t just an exercise in sheer escapism.
  22. If Beale Street Could Talk
    Weaving together the past and the present, masterful interpretations of Baldwin’s incredible prose, gorgeous visuals, and a sweeping score, If Beale Street Could Talk draws audiences into its overwhelming mix of emotions all at once.
  23. The Predator
    It’s good to see Black and Dekker offer up something so boisterous and stupid as The Predator. Is it messy? Absolutely. But, is it fun? It’s popcorn, baby.
  24. Destroyer
    Between its structure, its worldview, and its anti-heroine, Destroyer is almost impossible to ignore. Love it or hate it, it will still leave an impression and it will undoubtedly inspire discussion.
  25. Halloween
    Halloween deserves credit for its efforts to balance old and new, for taking us back to Haddonfield in a way that isn’t purely for cheap nostalgia, but it’s hard to shake the feeling that there’s something more that it could have been achieved.
  26. Fahrenheit 11/9
    In a climate where far too much entertainment passes itself off as “resistance” for making empty gestures and landing easy punchlines, this is at least a step toward a more honest and open look at what America has always been, what it really is now, and what it’s going to take to make it live up to even a fraction of its dream.
  27. Climax
    As a parade of exaggerated neon-soaked atrocities, Climax is certainly never boring, but it often strains credulity where it aims to provoke genuine discomfort. It exhausts where it should provoke.
  28. Peppermint
    If Peppermint has one thing going for it, and it’s by and large the only one, it’s Garner.
  29. The Nun
    It’s about as effective as a Walgreens Halloween display, where any terror derives from uninspiring shock value, and given that each and every pop-up scare can be seen from over a mile away, the movie fails in that respect, too. It’s exhausting even.
  30. The Little Stranger
    The Little Stranger slowly mutates into a harrowing treatise on the ways in which absolute privilege can corrupt absolutely.
  31. Support the Girls
    Support the Girls is the kind of film that sneaks up on you as it’s going along.
  32. 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.
  33. 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.
  34. 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.
  35. Crazy Rich Asians
    The romantic comedy beats are familiar enough, but the ways in which the film attacks them gives it a subversive shade that nicely compliments an otherwise straightforward fish-out-of-water story.
  36. Madeline's Madeline
    Whether or not the film fully lands will come down to how much you’re willing to give yourself over to its theatrical world. Like the immersive artform it’s examining, Madeline’s Madeline is frequently truthful and sometimes indulgent.
  37. 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.
  38. BlacKkKlansman
    BlacKkKlansman is a well-formed and compelling work of pulp escapism.
  39. The Meg
    It’s not reinventing the wheel by any stretch of the imagination, but The Meg is a perfect outing for a balmy late-summer evening at the movies. It’s a little preposterous, a little moving, and a lot entertaining.
  40. A Prayer Before Dawn
    What makes A Prayer Before Dawn so powerful is also what makes it so punishing.
  41. Like Father
    Like Father is confidently shot and showcases some lovely Caribbean scenery, but Rogen’s biggest strength as a writer/director is her masterful understanding of tone. She’s crafted a genuinely moving father/daughter dramedy in what feels like a heightened studio comedy.
  42. Christopher Robin
    The pleasure of good company is Robin’s occasionally winning quality.
  43. Generation Wealth
    While the focus occasionally gets lost in the filmmaker’s personal inquisition, it remains a thought-provoking, challenging cap to Greenfield’s life-long body of work.
  44. The Miseducation of Cameron Post
    What happens throughout The Miseducation of Cameron Post shows exactly why conversion therapy needs to be banned. It’s emotionally abusive, and is harmful to the vulnerable LGBTQ youth population.
  45. The Spy Who Dumped Me
    Unfortunately, The Spy Who Dumped Me struggles to tell a story as compelling as its two leads.
  46. Extinction
    While the script is fundamentally flawed, the direction doesn’t help. Young, who previously helmed the brutal 2016 indie Hounds of Love, feels out of his element in the sci-fi action realm.
  47. Whitney
    By the time Whitney reaches the point it inevitably must, Macdonald’s film stands as an archive of how preventable Houston’s passing truly was.
  48. Mission: Impossible – Fallout
    Mission: Impossible knows exactly what it needs to be: a fun and chummy thrill ride that’s always self-aware. Fallout follows that agenda, while also revisiting its more severe roots. It’s a sequel in every sense of the word, reintroducing not only familiar faces, but styles, themes, and motifs of past films.
  49. Father of the Year
    This film is all easy beats, predictive familiarities, and absolutely zero heart, soul, or silliness anywhere to be found.
  50. Mamma Mia! Here We Go Again
    Mamma Mia! Here We Go Again is one of the most batshit crazy pieces of outright nonsense this writer has ever had the pleasure of encountering, and while calling it an excellent film would be going way too far, I enjoyed every single goddamn second of it.
  51. 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.
  52. Robin Williams: Come Inside My Mind
    Come Inside My Mind is a moving, engaging portrait of a beloved comedic icon, but like Williams himself, it sometimes lacks focus.
  53. The Equalizer 2
    The franchise, however, feels less solid than Washington’s performance. There’s a formulaic quality to it, an aversion to the basics of world-building that gives The Equalizer 2 an outdated feel in a cinematic landscape where more attention is being paid to continuity and myth-making.
  54. How It Ends
    How It Ends ends with something of a whimper, leaving us feeling as if a compelling story was undercut by being told through its least interesting characters.
  55. Skyscraper
    Skyscraper‘s knowing sense of transparency about its own corniness turns it into exactly the right kind of summer outing, a tight 93 minutes of consistently well-executed overstimulation that takes itself seriously enough to avoid total self parody while also going out of its way to avoid insulting its audience’s intelligence.
  56. White Fang
    The heart is ultimately stirred, and the eyes often pleased, by this new White Fang.
  57. The First Purge
    The First Purge is every bit as nakedly, hysterically symbolic as its predecessors. But if there’s one thing that the current political climate is teaching us, it’s that a subtle touch isn’t always the solution.
  58. 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?
  59. Three Identical Strangers
    Wardle allows the details to roll out with impact, and even some insight. Curiosity for the grand genetic schemes is a great sell, but the human element, the lament for lost time, truth, and family? That sticks at the end.
  60. 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.
  61. 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.
  62. Jurassic World: Fallen Kingdom
    The film may deliver the spectacle of dinosaurs body-slamming other dinosaurs with their mouths, but that’s about all that connects Fallen Kingdom to the wonder and fright of the original film. As a horror movie, it’s diverting enough when it’s not continuously shooting itself in the foot with ideas it can’t explain and doesn’t care to.
  63. Gotti
    When the film isn’t simply boring, it becomes unintentionally hilarious in its occasionally inept production.
  64. Set It Up
    The film delivers a central philosophy about love (you like people because of their good qualities, but you love them despite their flaws) and features plenty of earnest self-actualizing, but it’s first and foremost here to provide a funny, breezy update on a familiar rom-com formula. Unlike its lost twenty-something leads, Set It Up knows just what it wants to be
  65. 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.
  66. SuperFly
    As was the case with the majority of blaxploitation films, the original Super Fly’s appeal wasn’t in its story so much as the ways in which it carved out an unapologetically black vision that served to capture a particular era in terms of its themes, music, and fashion. X has done that here, but he’s also crafted a crowd-pleasing summer blockbuster that will appeal to the modern filmgoer.
  67. Incredibles 2
    Incredibles 2 hardly shakes the foundations of what a superhero movie should be, but it’s a raucous crowd-pleaser that serves up enough mouthwateringly beautiful eye candy to delight kids and grownups alike.
  68. Hearts Beat Loud
    Clemons’ performance is a subtle, warm wonder.
  69. Alex Strangelove
    It’s the awkward tween of gay coming-of-age movies: earnest and confident, but more than a little clumsy.
  70. Won't You Be My Neighbor?
    It’s fine. It’s nice, pleasing, and capable of mustering amazement from time to time at what Rogers did. This callback to one of television’s greatest pioneers shows why he meant so much to so many, and what we could still learn from him today.
  71. Hotel Artemis
    Drew Pearce‘s Hotel Artemis...falls victim to much of what ails any ensemble picture — rushed plotting, forced coincidence, indulgence — but still manages to make a big impression.
  72. Ocean's 8
    An Ocean’s film should steal the breath from your body. Instead, it’ll draw some sighs, some smiles, and fervent hopes for a sequel more worthy of its cunning, charismatic thieves.
  73. 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.
  74. American Animals
    Vivid is a good word at large, here. There’s a freshness and energy to American Animals.
  75. 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.
  76. The Tale
    Restraint and simplicity are words that can be applied to every performance in The Tale, and nearly all of those performances are excellent.
  77. Filmworker
    Filmworker makes a compelling argument that the Kubrick who lives in cinematic legend may not have become the man he’s remembered for being without Vitali around.
  78. 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.
  79. Solo: A Star Wars Story
    Whether we follow Han Solo through hyperspace for more adventures is up to Disney, but what we got here is enough to keep us coming back again and again...That’s the best kind of Star Wars movie.
  80. Deadpool 2
    Deadpool 2 likes to situate itself as the subversive alternative to so many bloated X-Men films, with all their grave self-importance and bombastic action, but even more of this go-around resembles those movies than its predecessor, and if it reads to you as more than a bit hypocritical, just know you’re hardly alone.
  81. 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.
  82. Life of the Party
    Life of the Party exists in one of those unfortunate places where it’s easy to criticize, but McCarthy still makes you smile, and even laugh.
  83. Fast Color
    It’s intelligent, frequently resonant, and even wryly funny at points in its own weary way. This is sci-fi which trusts its audience to fill in the blanks and do just a little bit of the heavy lifting, and it’s better off for it.
  84. Bodied
    It’s a provocation, and for the most part, it’s an effective one. Yet for a film all about verbal and physical blows, Bodied seems to grow skittish when it comes to landing the nastiest ones, the ones that would call its own ideals into question. It’s just insightful enough to leave audiences wishing that it were more so.
  85. 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.
  86. 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.
  87. 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.
  88. Revenge
    Revenge is one big fuck you to a genre that has treated women like meat — often literally — and she takes back the reigns with incredible muscle. But what makes the movie riveting is how Lutz’s transition from damsel to destructor is filled with all kinds of tumbles.
  89. Tully
    Theron’s a perfect avatar for Cody’s irrepressible empathy for her subjects, wounded and loving in equal measure, and she’s hardly been more watchable.
  90. 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.
  91. The Week Of
    The Week Of is the wedding you forgot you were invited to, weren’t all that stoked to attend, then wound up loving anyway because you had such a surprisingly good time.
  92. Disobedience
    The performances, like the film, are rich, layered things of tremendous feeling and complexity. The characters, like the film, are imperfect but well worthy of cherishing.
  93. The Rider
    The Rider is nothing short of a masterpiece, an elegant work of cinematic poetry that elevates the everyday struggles of real people to the level of high art.
  94. Avengers: Infinity War
    It’s exhausting, but it’s also frequently effective. It’s surface-level with its emotional beats, but a number of them still land, largely thanks to the continuously all-in performances of the series’ endlessly patient stars. It’s an event that advertises itself as an event in every way, while somehow still managing to justify the immense hype around it.
  95. Kodachrome
    You know the characters, the beats, and the general arc. You know how it will end before the first act concludes, and that’s fine. The journey’s pleasant enough.
  96. I Feel Pretty
    It’s easy, breezy, and centered around a core of welcome sweetness. Unfortunately, it’s also far less thoughtful about its body positivity message than it thinks it is.
  97. 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.
  98. Hot Summer Nights
    Everything is dandy until it’s not and that’s what makes Hot Summer Nights such a stirring and vivid presentation. The stakes are real. Those stakes are what elevate the film from being strictly a chewy exercise in nostalgia.
  99. 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.
  100. 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.
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