Consequence's Scores

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For 1,458 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: 982 out of 1458
  2. Mixed: 341 out of 1458
  3. Negative: 135 out of 1458
1458 movie reviews
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  1. Mister America
    Mister America aims for the acerbic pitch of a ‘70s alternative political farce like The Candidate, but the parting feeling is that it’s just an overdeveloped ramble. It’s not ha-ha funny, which is fine in the world of a muted humor like this. But like Heidecker’s campaign, it’s not entirely convincing as a satire either.
  2. The Mule
    The Mule is a functional take on capitalism, work-life balance, and the creeping, overlong process that is aging. The tense moments click.
  3. Pain Hustlers
    Though it may not be an awards contender, there are still sparks throughout to appreciate, especially in Blunt and Evans’ performances. Thanks to them, there’s a lot of humanity to be found in the film — the best and the worst of it.
  4. 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.
  5. Kinda Pregnant
    Kinda Pregnant is a relatively painless, if predictable, diversion.
  6. The Map of Tiny Perfect Things
    While it flirts with some exciting and original concepts, The Map of Tiny Perfect Things is plagued with an uninspired story, flat characters, and a pair of romantic leads that have zero chemistry. It’s not overtly offensive, but it’s certainly the kind of movie we won’t remember two time-loops from now.
  7. The Black Phone
    The performances are strong, and the film excels in isolated setpieces. It’s just a shame to see a neat idea largely go to waste.
  8. Red Sparrow
    When Lawrence plays to the cheap seats, the film comes to life. When she’s the blank slate expected of a spy thriller, it falters, because it doesn’t play as though she’s concealing or deceiving. It plays as though she’s empty
  9. Hubie Halloween
    Compared to a lot of other Adam Sandler movies, Hubie Halloween is watchable without being actually very good.
  10. Rough Night
    Things move at such a breakneck pace and the film is so manic tonally that Rough Night winds up feeling more like a series of vignettes than an actual movie.
  11. 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.
  12. The Call of the Wild
    While The Call of the Wild is silly, and never completely pulls the wool over the eyes with respect to the CGI, there’s enough meat on the bone to gnaw on before burying it in the backyard.
  13. Ballerina
    Eve’s backstory proves relatively trite, and the character is given nothing to connect with before or after she sets off on her quest.
  14. The Report
    While the film’s intentions are noble, and its story worth retelling, it struggles throughout to lend a lasting weight to its straightforward plotting.
  15. Terminator: Dark Fate
    It’s great to see Arnie and Linda Hamilton in the saddle again, and Davis and Reyes are welcome additions to the cast, but it’s probably time to terminate this franchise for good, and be thankful they went out on this serviceable note.
  16. The Monster
    The Monster is worth watching for Kazan and Ballentine.
  17. Armageddon Time
    Gray’s many fans will probably love Armageddon Time, and it may even win over some more neutral viewers who respond to his decidedly non-nostalgic look at a pivotal (and not especially promising) moment in U.S. history. But anyone who has found his movies less articulate than the ideas behind them will only get occasional respite here.
  18. Color Out of Space
    With its wacky space shit, off-kilter gore, creepy atmospherics, and hammy breakdown, most of which happen all at the same time, Colour Out of Space is, inarguably, one hell of a trip. It’s just not a trip that everyone is going to enjoy taking.
  19. The Glorias
    For its unconventional structure and occasional flights of fancy, The Glorias all too often reads as a bog-standard biopic more interested in recounting history than telling a story.
  20. Thunder Force
    Better than My Super-Ex Girlfriend, sloppier than Hancock, it’s nothing dynamic but fun all the same. And frankly, not every superhero flick or comedy needs to be the Super-person of its domain. Likability is sometimes an underrated super-power, and Thunder Force is bursting with it.
  21. Charlie Says
    Murray and Wever are as attuned to their roles as Smith is awkward and miscast in his. But perhaps that’s an appropriate fit for Harron and Turner’s divisive-yet-gripping take on this story: at the end of the day, the Manson women are deeper, more fascinating, and more worthy of exploration than the insecure man that connected them.
  22. Amsterdam
    Towards the end of the film, Bale’s character embarks on a monologue about the “power of kindness” and the “tapestry of life” that is so wildly heavy-handed it almost veers into parody. Perhaps it wouldn’t feel so hollow, so blatantly fraudulent and insincere, if it were written by someone else, but we’ll never know.
    • 78 Metascore
    • 58 Critic Score
    John Wick: Chapter 4
    Watching John Wick: Chapter 4 sometimes felt like watching an above-average assembly cut. At an unwieldy two hours and 49 minutes, your eye will immediately be drawn to what cuts through the noise — and there are plenty of these moments. But “moments” does not a well-told “movie” make.
  24. Drive-Away Dolls
    Underdeveloped characters and a mishandling of their queerness make the film feel both exploitative and disappointingly flat – and while all the whimsy, color, and dance-punk needle drops are welcome, they’re only brief distractions from Drive-Away Dolls’ speedbumps.
  25. War on Everyone
    McDonagh seems to have more to say in this film, but it’s lost among the narrative and stylistic inconsistencies.
  26. 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.
  27. 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.
  28. 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.
  29. Stuber
    It’s refreshing to see a buddy movie reclaim some of the grit and emotional connection of bygone decades, but for all of its killer fight sequences and shootouts, Stuber just isn’t all that funny after a while.
  30. Ben-Hur
    This Ben-Hur is closer to an ‘80s actioner about two men who once loved each other parting ways, only to reunite and settle their differences through vicious means.
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