Consequence's Scores

Select another publication »
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
view
per page
  1. Twilight
    Watching Twilight, I was floored by how earnest all of this was, how seriously everyone involved took what is clearly a horrible, unhealthy, doomed relationship. And is there anything more teenage than that?
  2. Blair Witch
    Blair Witch is disappointing on multiple levels, all of which have nothing to do with the franchise.
  3. Don Verdean
    Don Verdean is the sort of comedy which presumes its own hilarity long before it gets around to telling any actual jokes, or staging anything that might otherwise be considered funny.
  4. Hillbilly Elegy
    Hillbilly Elegy does not bring out the best in its cast, and Howard fails to bring the intensity or depth that might make something meaningful. His approach is all after-school special, all the time.
  5. The Happytime Murders
    It becomes clear all too quickly that “puppets say swears” is all the film has to offer, so it’s a slog to sit through the remaining seventy minutes of that same joke, repeated ad nauseam.
  6. All Eyez on Me
    All Eyez on Me is the opposite of an ideal biopic.
  7. Murder Mystery
    Murder Mystery is a dud, stained with slack humor and a total unwillingness to play within its own chosen genre.
  8. American Assassin
    American Assassin never transcends the exploitation at its core.
  9. Songbird
    Adam Mason’s Songbird is about boring people getting mad that they’re stuck inside, and the government is oppressing them, and they’ll soon fly free or whatever.
  10. Terminal
    Drawing from a host of late-nineties influences but doing nothing with them, Terminal is little more than a shallow exercise in dated crime movie pastiche.
  11. Independence Day: Resurgence
    A curiously loud and ugly beast of a sequel.
  12. Collateral Beauty
    It is not a bad film because of its sincerity of intention. It’s a bad film because it manages to make that sincerity feel disingenuous as it goes on, more and more so with each passing scene.
  13. The Space Between Us
    As with Collateral Beauty, Loeb piles on the ridiculous narrative twists to eye-rolling effect. The last twenty minutes of The Space Between Us are a rollercoaster ride of changing motivations, baffling character reveals, and overblown dramatic gestures that completely defy belief.
  14. Fatman
    Another lump of coal in Gibson’s rapidly declining filmography. Fatman has no gifts to speak of. It’s kind of cheap. It’s fairly cynical and/or mean-spirited. It’s not fun. No good. Lumpy in execution. Deeply archaic in its thinking. Ho ho ho-hum.
  15. Dark Crimes
    The only subtlety to be found is in the performance of singer and actress Charlotte Gainsbourg, though it’s her co-star, Jim Carrey, who will be the subject of most of this strange, ugly film’s discussion. And why not? It’s a bizarre, fascinating turn for Carrey.
  16. Fist Fight
    What’s most unfortunate about Fist Fight is the wealth of talent it amasses for little to no discernible purpose.
  17. The Little Things
    It’s a miserable experience — a dull, dated copy of something we’ve seen before — and takes way too long to ever get moving. (It never really does.) In the end, an unimaginative script and underutilized actors make The Little Things as trivial as the title implies.
  18. Antibirth
    Which is why Antibirth feels more like an anti-film, a piss-poor assembly of remarkable cult actors and brazen narratives that start off divorced without ever being married.
  19. Mile 22
    A perversely fascinating mess from start to finish, Mile 22 is Berg’s most baffling attempt yet to make art out of the most virulent post-9/11 fears about terrorism and international espionage.
  20. The Ridiculous 6
    Whatever you think about Adam Sandler right now, The Ridiculous 6 won’t change your mind. If you love him, you’ll love this; if you hate him, you’ll get plenty of ammo here.
  21. Rambo: Last Blood
    Dumb as hell, gory as can be, and reliant on the hilarious idea of Stallone traveling at the speed of sound to ambush a few dozen cartel soldiers.
  22. 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.
  23. The Dirt
    Its lack of energy, depth, and pure volume are, at the movie’s best, sanitized. Despite the long wait, The Dirt is nothing more than karaöke Crüe.
  24. Extinction
    While the script is fundamentally flawed, the direction doesn’t help. Young, who previously helmed the brutal 2016 indie Hounds of Love, feels out of his element in the sci-fi action realm.
  25. The Nun
    It’s about as effective as a Walgreens Halloween display, where any terror derives from uninspiring shock value, and given that each and every pop-up scare can be seen from over a mile away, the movie fails in that respect, too. It’s exhausting even.
  26. Baywatch
    When it comes down to it, Baywatch’s central sin is that it’s just…not funny.
  27. Glass
    Shyamalan comes off so smug by the end of this movie that it’s insufferable — and also kind of jarring. It’s as if he’s learned nothing from his past and still believes he’s pulling a quick one on his audience.
  28. Geostorm
    Geostorm finds itself in the curious position of simultaneously taking itself too seriously and not enough so. It’s a disaster movie far too ridiculous to generate any real gravitas, but it’s also just glum enough to suck any fun out of watching the beaches of Rio de Janeiro freeze over in an instant.
  29. Death Note
    In adapting Death Note for a presumably American audience, Wingard loses the whole of its identity, and never finds a different one with which to replace it.
  30. God's Not Dead 2
    There is a tone of anger that sneaks out of the film in even its moments of levity.
Page:

Top Trailers

See all »
See all trailers »