Consequence's Scores

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:
1458 movie reviews
  1. This is a mild return to franchise form, which is like saying that one of the descending plane’s jets started working again. Despicable? No. Deal-able? Sure.
  2. While he has a decent enough handle on the right tone for the proceedings, Caruso’s action sequences are slapdash to the point of incoherence.
  3. Wind River is also a potent example of how form isn’t always enough when the story is as frequently unnerving for unintentional reasons as it is for the horrors it aims to present.
  4. 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.
  5. Payne’s heart might have been in the right place with this one, but the execution feels flippant at best.
  6. Try as it might to blend the music-conscious idiosyncrasies of Portlandia with the varied persona of one of our weirdest, most valued artists, The Nowhere Inn ends up going, well, nowhere.
  7. Momoa’s raw on-screen energy remains infectious even in the driest scenes, and Wan does wring a real sense of human connection out of the scenes between Momoa and Wilson, whose tempestuous fraternal bond is the emotional core of the film.
  8. Neither Bates Jr.’s assured direction nor the strength of the performances can salvage the narrative, which feels overly convoluted and spackled far too much finery.
  9. As a Big Message movie about the racism inherent in the criminal justice system, Crown Heights succeeds admirably enough. As an effective drama, however, the film is frustrating in its unwillingness to engage with its characters beyond its broader strokes.
  10. The film starts to risk adrenaline fatigue after the first hour.
  11. Phillips’s sequel proves to be a muddled love story that falls apart due to its inability to express anything thematically substantial or original.
    • 38 Metascore
    • 50 Critic Score
    Sure, it’s a thrilling ride, but it’s also as memorable as a 75-second roller coaster.
  12. This version of Lady and the Tramp actually lacks the thematic complexity of its ’50s inspiration.
  13. Personal Shopper might be a failed, if noble, attempt at transcending genre, but you’ll leave psyched to see what its star does next.
  14. Robitel and Whannel are still too bound to the franchise here to make something truly original, but The Last Key will make you grip your armrest, squint your eyes, and prepare for the worst. Sometimes, that’s enough.
  15. Aladdin could wind up working well for young audiences yet again. For everyone else, however, it’s a bland copy of a lush original. It has the same themes and characters, but without the heart or nuance, despite being 38 minutes longer.
  16. A lot of fandom went into this, but Popstar is relentless to the point where it eventually becomes plodding.
  17. There’s just not a lot of weight to this sequel, at least not enough to dissuade anyone from seeing this as anything but a limpid cash grab.
  18. Patti Cake$ is a rags-to-riches story that too often comes off as a carbon copy of other, similar rags-to-riches stories.
  19. Brahman Naman is like a crispy Samosa with nothing at the center. The Netflix release, directed by Qaushiq Mukherjee, pays homage to American sex comedies from Porky’s and Revenge of the Nerds to There’s Something About Mary, but lacks the heart to go along with the excess of raunch.
  20. 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.
  21. The Death of Dick Long offers its share of amusing dark comedy, but the film leans too much on Alabama stereotypes and inherently stupid character decisions to advance the plot.
  22. It’s a valid mission, one supposes, but rendering Bonnie, Clyde, and their cultural impact in such a one-dimensional fashion doesn’t add weight to its subjects. It only serves to strip dimension away from their own story.
  23. For a film that looks this wacky, it’s a shame that The Nutcracker and the Four Realms is ultimately pretty boring.
  24. It’s a treacly slog that’s regretfully forgettable.
  25. Phantasm: Ravager will disappoint the uninitiated, but those who are loyal will find enough to love.
  26. Despite Pazienza’s own pitfalls and perils, the film never registers as anything more than a boilerplate boxing drama, which is a shame because the material is all there, it’s just hamstrung by a flimsy screenplay that refuses to let its characters exist on their own.
  27. "Jane" eventually comes alive, even if Jane never truly does.
  28. It’s still a reasonably funny movie when it hits its marks. It’s just a funny movie prone to going to some ugly, barren wells for laughs throughout as well.
  29. White Boy Rick is a collection of interesting enough scenes in desperate need of a more cohesive framework.

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