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. Hubie Halloween
    Compared to a lot of other Adam Sandler movies, Hubie Halloween is watchable without being actually very good.
  2. Small Axe: Red, White and Blue
    Tonally, McQueen and co-writer Courttia Newland’s screenplay flits capably between character study, issue film, and cop drama so seamlessly you’ll barely notice it’s changed gears, and at eighty minutes there’s not an ounce of fat on it.
  3. On the Rocks
    Coppola sends us on a light, frothy father/daughter adventure, to be sure, but one suffused with the tiny tragedies of misogyny, and the excuses men make for their selfish behavior. Even the sweetest dishes need a little salt to bring out its complexities, and On the Rocks is no exception.
  4. The Trial of the Chicago 7
    Despite Sorkin’s significant shortcomings as a director, The Trial of the Chicago 7 hums along mightily on the strength of its god-tier ensemble and whip-smart script. There’s hardly a false note in the cast, all of them capably handling Sorkin’s overlapping, erudite dialogue with aplomb, and many of the big moments land with a splash.
  5. Small Axe: Mangrove
    Mangrove elevates the oft-creaky genre of the courtroom drama with striking, evocative compositions, stunning performances, and a real sense of place.
  6. Enola Holmes
    Millie Bobby Brown is captivating as the quirky Enola, a confident, young woman raised outside the patriarchy by her feminist mother. Brown dives headfirst into the role, and her bubbly charisma is a dynamic change from the quiet strength of Stranger Things’ Eleven.
  7. Alone
    Alone is exactly what it sells — a taut, hot-wired survival thriller. With its gaunt storytelling, meaty characters, and high-stakes action, the film delivers on all fronts.
  8. Small Axe: Lovers Rock
    McQueen’s focus is on the community, not the individual; his focus is on the party as a whole and the optimism and community it engenders. Films about the unabashed celebration of Black joy and success are few and far between, which makes Lovers Rock all the more remarkable.
  9. Falling
    Despite great direction by Mortensen, who also delivers a strong performance alongside Henriksen and (briefly) Linney, Falling is a repetitive and exhausting exercise that never gets around to unpacking why the audience should care about its ailing patriarch character. It’s too long and too one note for too little pay-off.
  10. 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.
  11. One Night in Miami
    Regina King’s directorial debut is a quiet and contemplative film, filled with powerful mediations on race, responsibility, and revolution that are both timely and entertaining
  12. Pieces of a Woman
    Pieces of a Woman offers a superb performance by Vanessa Kirby, and the most unnerving opening of any film in 2020, but the familiar examination of marital disintegration struggles to sustain interest or justify its lengthy runtime.
  13. Nomadland
    Nomadland is a gorgeous, lyrical film featuring another standout lead performance by Frances McDormand. Chloé Zhao’s latest is a testament to the beauty of the American Midwest and the value of living an unorthodox life.
  14. The Devil All the Time
    It’s a shame to see a movie this ambitious and well-cast turn out so wobbly, but The Devil All the Time inevitably sinks under the weight of its self-importance.
  15. David Byrne’s American Utopia
    It is as much a celebration of song and contemporary dance as it is a call to action about the need to embrace our humanity and connect with others. Quite simply: it’s a joy.
  16. 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.
  17. Mulan
    Unlike other Disney remakes, the issue with Mulan isn’t that it hews to the formula too closely; it’s that when this movie veers away from that formula, it tries to be something approaching a Marvel movie, and that’s one crossover we still don’t need.
  18. Bill & Ted Face the Music
    As expected, the real flexes come from the four principal stars. Winter seamlessly slides back into his flannel as Bill, wisely dialing things down to address the years. However, Reeves dials it down too much, coming off as nearly geriatric as he shuffles around as his buddy Ted.
  19. i'm thinking of ending things
    Even two viewings in, I’m struck by the density of the work itself, its feelings on death and aging and the past shifting with every line of dialogue or idiosyncratic image.
  20. Tenet
    Sprawling and ambitious, flawed yet admirable, failure and success concurrently reside in every minute of Tenet. A technical feat but a narrative dud.
  21. Unhinged
    Crass but quick, and agreeably popcorn-y, Unhinged could have gone off in far more risible fashion. Not quite a gas, but without crashing and burning entirely, Unhinged gets where it needs to go and fast.
  22. Train to Busan Presents: Peninsula
    Peninsula combines components from I Am Legend, Mad Max, and the Fast & Furious series for a nonsensical joy ride that, while entertaining, lacks the sharpness of its predecessor.
  23. Skin: A History of Nudity in the Movies
    Skin certainly has its blemishes, but it’s occasionally excited and secure in its willingness to build an off-the-cuff alt history for an under-discussed facet of filmmaking.
  24. The One and Only Ivan
    The One and Only Ivan always “feels” like a movie without actually being compelling enough to be truly entertaining.
  25. Project Power
    Project Power is a hard-R action flick with a neat premise, inventively handled, and a winsome cast to coast us through the creakier bits of the screenplay. More crucially, it’s also got a sense of humor about itself.
  26. The Pool
    The Pool is easily one of the best single location, high concept thrillers of the year. While its social commentary on abortion feels a tad old-fashioned, the action sequences and the escalating threats make for a great time at the movies.
  27. Spree
    Spree works better as a performance piece for Keery, who never eases up on the pedal. He’s legitimately haunting as Kurt, and like the best sociopaths in film, there’s a subtle guilt that comes from wanting to see what he’ll do next. Oddly enough, that feeling speaks louder than anything actually said in the film.
  28. Black Water: Abyss
    Black Water: Abyss is a low-stakes rollercoaster arriving at a time when we’re being barred from theme parks. If you’re looking for some thrills — and maybe even a little adventure — it’ll do the trick. The drama is exhausting, but the situational horror offers a nice distraction, even if we’re admittedly tired of watching people make stupid decisions.
  29. She Dies Tomorrow
    It’s tough to recommend She Dies Tomorrow given the high levels of stress and anxiety so many of us are currently experiencing. Seimetz uncannily mirrors the pervasive unease of 2020 in a way that hits a little too close to home. Full disclosure: watching triggered a near existential crisis and multi-day bad mood for this writer.
  30. 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.
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