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. Knight of Cups
    There’s a note of reflexive, self-aware irony to it, but portions of Knight of Cups feels as though they’re indulging in precisely this same kind of early-college navel-gazing.
  2. The Wave
    To have seen a disaster movie before is to have seen The Wave. But if there’s not necessarily anything remarkable or new about the film, Uthaug finds ways to make the familiar immediate, with a fraction of the money usually involved.
  3. Whiskey Tango Foxtrot
    Fey delivers the performance like the super-capable talent she is, with range and authenticity. She’s a character with a fully expressed arc, foibles and all. She’s the dramedy’s best weapon.
  4. Zootopia
    There’s a depth to the city that shows how far the form has come in a short time, and Zootopia is better off for it, especially when it still ultimately doesn’t break away from the familiar Disney formula as much as some of the studio’s other recent films have managed.
  5. Right Now, Wrong Then
    The way Right Now, Wrong Then yields different results, moods, and beats as the result of minor shake-ups in the opening scenes is beyond fascinating, often charming, and at times amusingly uncomfortable.
  6. Holy Hell
    Holy Hell ropes us in with tales of delusion before chilling us with tales of terror.
  7. London Has Fallen
    London Has Fallen is terrorism porn, an alarmist, jingoistic piece of CGI-soaked garbage that implores its audience to fear nothing after sensationalizing the slaughter of innocents and the destruction of a major city.
  8. Triple 9
    It’s great when a film leaves you wanting more, but not when you weren’t given much to begin with.
  9. 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.
  10. Mad Max: Fury Road
    Not only has George Miller made an effective return to the wasteland of the Mad Max universe with Mad Max: Fury Road, he has surpassed most action films released … well … ever.
  11. Eddie the Eagle
    Eddie the Eagle trips plenty, but Eddie, insufferable as he may be, represents the people that in spite of failure being visible at the bottom of a 90-meter ski drop, still take that leap.
  12. Race
    Race is a film best enjoyed for its mild ambitions and accomplishments, which easily beat out its missteps.
  13. The Witch
    It falls short of an instant classic. It’s not a mind blowing achievement in horror. But The Witch is a solidly good film.
  14. Mountains May Depart
    Perhaps the film’s most striking quality is its restraint. Thematically and stylistically, it’s a film of quiet medium shots, long takes, and clear but evasive words. Every choice is tiny, but humane and usually deliberate.
  15. Zoolander 2
    Zoolander No. 2 invokes that old Simpsons headline: “old man yells at modern culture.”
  16. How to Be Single
    How To Be Single doesn’t break much at all in the way of new ground, but it’s a decent walk over well-trodden territory.
  17. Deadpool
    It’s hard to imagine a movie much more aware of itself both as a movie and as a moment in a cultural progression of similar movies than Deadpool.
  18. Diamond Tongues
    Although it stumbles a bit at the end with a self-aware redemption that isn’t entirely earned or particularly in character, Diamond Tongues is still a brilliant and realistic portrait of the young artist as a bitter borderline failure.
  19. The Choice
    For a film that hinges so much on the chemistry and charm of its two leads, it’s tough to recommend The Choice on even those grounds.
  20. Where to Invade Next
    It’s a very good op-ed in favor of America’s ability to live up to its potential and build itself into a country that actually represents the idea of liberty and equality that it’s espoused for so long. Thanks to the humor with which it’s presented, it’s also a pretty decent testament to the potential future of the country’s satire.
  21. Hail, Caesar!
    There’s a lot going on in Hail, Caesar!, but in the end, it’s all a bit too silly to register as important.... Nonetheless, Hail, Caesar! satisfies that one criterion that matters most in Hollywood, and will for time immemorial: it’s entertaining as hell.
  22. Pride and Prejudice and Zombies
    A comedy of manners and femininity gets bisected by gnarly effects, and the two-tone approach works in its way.
  23. Swiss Army Man
    Frenzied, kinetic filmmaking is hit or miss, but The Daniels are showcasing their talents as opposed to showing off.
  24. 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.
  25. Wiener-Dog
    You’ll laugh, you’ll cringe, you’ll wince, and you’ll sigh. Such is the genius of Wiener-Dog, and of Solondz, and why he remains a reliable visionary.
  26. Under the Shadow
    The Iranian filmmaker wisely uses the genre to work through themes of oppression, rebellion, and femininity without ever politicizing the film. This is prestige horror, the kind with tricks and treats that arrive with purpose and linger for years.
  27. Southside with You
    Southside with You is a rewarding bite-sized drama, rich with characters who we already know, but also don’t really know.
  28. Jane Got a Gun
    "Jane" eventually comes alive, even if Jane never truly does.
  29. Fifty Shades of Black
    Marlon Wayans is clearly getting off on the gags, but the lazy, hard humor, and elastic joke-making eventually has a numbing effect.
  30. 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.
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