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. Mother's Day
    The film’s script is designed to constantly flatter the sensibilities of its target audience, which is a nice enough goal, but it never seems to reflect the way that people actually speak, think, or behave. At best it’s corny, and at its worst it’s actively offensive.
  2. The Intruder
    In an age where “so bad it’s good” has lost much of its meaning in a sea of calculated camp, The Intruder may be one of the few films of recent vintage that truly qualifies.
  3. The Midnight Sky
    Fittingly, The Midnight Sky suffers from the same weightlessness as its astronauts — Clooney opens his big, wet soulful eyes, and Alexandre Desplat‘s overly-aggressive score lays on the emotion as thick as syrup, but none of it lands.
  4. Gods of Egypt
    Gods of Egypt is a dull, meandering, plastic mess of pre-2002 CGI and performances as flat as the green screens behind them.
  5. Bright
    It’s the kind of film that sets up a compelling sandbox in which to play, and then smashes gracelessly through it, cackling all the while.
  6. Lucy in the Sky
    The film has spent so much time telegraphing its own depth that it forgets to create any, and thus when that wig arrives, we have no reason to view it as anything other than ridiculous.
  7. Warcraft
    Jones slaves to make something of the material, and to his credit, or rather his profoundly large cast and crew’s credit, the craft is certainly visible in Warcraft. It feels rude not to compliment the hard work of the makeup, costume, production design, and visual effects teams.
  8. The 5th Wave
    Blakeson and screenwriters Susannah Grant, Akiva Goldsman, and Jeff Pinkner don’t seem to care much about telling the story. They’re just checking off the boxes.
  9. The Angry Birds Movie
    It should come as no surprise that The Angry Birds Movie is a loud and dumb children’s film, but for what it’s worth, there are plenty of cinematic commercial ventures that are louder and dumber and so on than the well-meaning and slickly sold Birds.
    • 39 Metascore
    • 33 Critic Score
    The Greatest Beer Run Ever
    Whatever this film’s intentions may have been, and perhaps they were wholly noble, one thing is abundantly clear: Smokey and the Bandit is still, and without much competition, cinema’s greatest beer run. And that movie managed to deliver a whole truckload of beer without doing any disservice to the Vietnam War.
  11. Onward
    When the leads are drawn this terribly thin, and Onward is so hopelessly focused on the dad narrative that it can’t help but ignore its creativity in favor of mawkish afternoon special, the product stinks of a bad Amblin ripoff.
  12. Concussion
    Concussion tries to “tell the truth!” but its filmmaker feels compelled to surround the truth with tales of a man whose life is just not that interesting.
  13. Hunter Killer
    Hunter Killer has thrills, but they’re of the cheapest variety.
  14. Cats
    As an adaptation, Cats is declawed, never delving fully into the possibilities offered by its proportion-manipulating trick photography and its animated cast. As a big-budget spectacle, it’s a triumphant disaster, if one at least born from a unique idea.
  15. Yoga Hosers
    While Yoga Hosers continues Smith’s quest to push himself into increasingly strange and uncomfortable directions as a filmmaker, it’s either too derivative or too malformed to work the vast majority of the time.
  16. Dean
    Although the movie is warm and affectionate enough, Dean is not very good, and at its worst the film treats its audience as if it is fairly stupid.
  17. 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?
  18. The Turning
    The mood and atmosphere is appropriately unsettling, and the stellar cast never stops trying to elevate the material, all of which makes it even more upsetting to watch as it slowly unravels and botches the landing.
  19. The Conjuring 2
    It’s slick and stylish to the point of distraction. This isn’t horror; this is exaggerated carnival fare.
  20. The Book of Henry
    It aims for the kind of sprawl that could contain a film with so many big ideas about death and grief and cruelty and salvation, but it’s somehow at once too modest for how bizarre it eventually gets and too excessive to meaningfully deliver on those emotions.
  21. Cherry
    There’s a fundamental disconnect between Cherry’s cynicism and Holland’s innate naivete that just makes the whole affair feel wrong somehow, not to mention crushingly long at nearly two and a half hours.
  22. Rebel Moon Part 1: A Child of Fire
    In its current shape, Rebel Moon isn’t just boring; it feels hopelessly compromised.
  23. 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.
  24. The Prodigy
    While it’s a reasonably paced thriller, The Prodigy is almost wholly devoid of real scares.
  25. Humor Me
    Humor Me is essentially the feature film adaption of writer-director Sam Hoffman‘s web series Old Jews Telling Jokes, and much like ideas that are typically created for a web series, the execution of the material appears to be just a bit too lacking to serve the purpose of a full-length film.
  26. Gold
    Gold is weakly written, predictable, and too placid to achieve any loftier ambitions. It’s just a soft-sold tale of a schemer’s paradise.
  27. The Curse of La Llorona
    It’s a paint-by-numbers would-be blockbuster entirely built around the delusional notion that general audiences can’t be scared by anything more thoughtful than recycled jump shocks and derivative monsters.
  28. 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.
  29. Cell
    Given the absurdity of the premise, Cell isn’t nearly as luridly entertaining as it should be.
  30. Escape Room
    It’s also not all that good, even if it’s hardly the kind of “bad” that most would get riled about. Escape Room is cut from one of Hollywood’s most familiar cloths: the “mall horror” movie.
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