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. 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.
  2. Son of Saul
    At times, László Nemes’ film induces the sensation of drowning, slowly. Not the kind where you’re pulled under by the riptide, but the kind where you’ve been treading water for so long that the body starts to betray you in tiny increments, and any life preserver must be met with utter desperation.
  3. Alvin and the Chipmunks: The Road Chip
    There’s a laziness to The Road Chip, what with its mostly stale or needy jokes and cutesy plotting.
  4. Sisters
    Sisters is made of pure, frenzied comic momentum.
  5. Christmas, Again
    Poekel and Audley keep exposition to a minimum, allowing the truth behind Noel’s breakup to emerge organically, in the weight of an object or his reaction to a beaming couple. It’s elegant filmmaking, seamless in its storytelling.
  6. Star Wars: Episode VII - The Force Awakens
    Abrams and Kasdan’s respective humor and pathos push the characters beyond some of the more rote and redundant storytelling. So while it’s not always compelling, it’s always fun.
  7. 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.
  8. Macbeth
    It’s a fierce, visceral vision with a superb cast, that one suspects was more focused on pumping up Macbeth than reminding people why it’s such a lasting cautionary tale.
  9. Youth
    Unlike in some of the filmmaker’s past work, however, Youth foregrounds the performance over the spectacle; Keitel turns in some of his finest work in years as the aging, fiery Mick, and Caine delivers a performance composed of untold multitudes.
  10. In the Heart of the Sea
    Unfortunately, the reverence Howard and screenwriter Charles Leavitt seem to feel for the material ultimately dooms it to—if you’ll pardon the seafaring reference—float along in the doldrums, doomed to a driftless existence enlivened only by the occasional giant whale.
  11. Cronies
    For a film where not much ultimately happens, per se, Cronies is a thoughtful reflection on nostalgia and how the sins of the past affect the present.
  12. Joy
    Here’s a film with all the right ingredients and a few too many wrong moves, yet one that’s admirable for trying as hard as it does.
  13. 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.
  14. The Revenant
    A cold, visceral, and overwhelming piece of cinema.
  15. Saint Maud
    Saint Maud is a fantastic and gripping debut from an exciting new talent in the genre. Hoisted by a tight script and dynamic performances, it’s a standout title that deserves its heaps of praise.
  16. Lean on Pete
    While Lean on Pete risks turning gratuitous in terms of narrative flourishes and excess, it’s never gratuitous in its characterizations. Each individual encounter is rendered with compassion and respect.
  17. Happy End
    A Haneke who’s treading water is still a bizarrely entertaining filmmaker, but the fun is tinged with a hint of disappointment and a certain feeling of lost opportunity.
  18. Taken
    However handsomely and efficiently staged, the actual action in this action movie feels immaterial. It’s a foregone conclusion that Mills is going to get his daughter back, no matter what obstacles are thrown in his way.
  19. 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?
  20. The Passion of the Christ
    It may exhaust you, it may offend you; it may guide you through Hell into something more revelatory. And how you receive the film may depend greatly on how you feel about the man who made it.
  21. Rushmore
    There’s a lot of depth to Rushmore, but lingering in those depths for too long does a disservice to how consistently funny it also is.
  22. Outbreak
    The film is less effective, unfortunately, at trusting its audience to remain invested in Cedar Creek’s drama, which results in two grating subplots that become the A-plot in the draggy third act.
  23. The Nightmare Before Christmas
    It’s an aesthetically addicting experience that capitalizes on these seasonal feelings, offering an unlikely escape with the press of a button.
  24. Deadfall
    Ostensibly, it’s a vehicle for Michael Biehn, whom no one else but James Cameron seems to know how to use properly, but everything else about the movie is forgettable.
  25. Dazed and Confused
    Like so much of Linklater’s best work, the film is profound through its being deliberately unassuming. It’s sincere without being dopey, honest without being mean, optimistic without being oblivious of how hard the future can be.
  26. True Romance
    True Romance is for the most part a delightful relic of its era.
  27. They Live
    The terrors put forth by the film are at once specific to the era of its production and timeless in their direct connection to the American experience.
  28. Under the Cherry Moon
    Like Prince’s music, perhaps this film is best taken in for its sensation and not its literal output. That, and the dialogue is just ridiculous. But Prince looks cool, owns his story’s loose ideology of churlish change, and stages some marvelously ornate shots.
  29. Lost in America
    The empty promise of the American dream is the implicit subject of most of his films, but in Lost in America, they’re the most exquisitely drawn. Failure and pettiness haunt David and Linda, and Brooks finds compelling ways to frame them.
  30. The Wild Life
    It’s not that funny, and feels like a ripoff of Animal House. Either way, The Wild Life is like the contractually obligated Crowe script that time forgot, his undisciplined id, playing with cheap thrills before he got a chance to express himself like a human storyteller in 1989.
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