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. Transformers: The Last Knight
    While the flagrant product placement is dialed back (at least on Bay’s curve) and there’s mercifully 100% less discussion of sexual consent laws this time around, the latest outing suffers from arguably the most fatal flaw a movie about giant fighting robots can: it’s brutally and relentlessly boring from start to finish.
  2. All Eyez on Me
    All Eyez on Me is the opposite of an ideal biopic.
  3. 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.
  4. Nobody Speak: Trials of the Free Press
    While the connections Knappenberger draws between private and government corruption are sometimes belabored, they’re also accurate, and a stark reminder of the increasing popularity of “bought” news.
  5. Rough Night
    Things move at such a breakneck pace and the film is so manic tonally that Rough Night winds up feeling more like a series of vignettes than an actual movie.
  6. Score: A Film Music Documentary
    Score’s charms are many, offering an appealing portrait of an aspect of cinema that sometimes doesn’t get the appreciation it deserves.
  7. Cars 3
    It’s a movie made of brief chuckles and obvious but well-meaning lessons, and if it lacks the grander ambition of some of the studio’s best and most memorable work, it’s still an enjoyable watch.
  8. Shimmer Lake
    Shimmer Lake’s climax does a fine job of bringing together its disparate parts for a resolution that’s surprising, effective, and logical.
  9. The Hero
    It’s odd to see Elliott in a performance that involves him appearing so adrift, but the actor mines Lee’s insecurities for a naked honesty that makes his arguments and apologies alike ring with a lifetime of remorse.
  10. Beatriz at Dinner
    Beatriz at Dinner has an ear for the microaggressions that tend to constitute so much modern racism, and these moments tend to play better than the broader attempts at cultural commentary.
  11. The Mummy
    Unfortunately, The Mummy’s true curse is that it’s doomed to sacrifice its moments of fun, breezy spectacle for overwrought world-building.
    • 78 Metascore
    • 58 Critic Score
    Long Strange Trip
    While Long Strange Trip is full of rare or untouched archival video and audio, there are very few revelatory treasures to tell those seriously interested in understanding the Dead’s impact something new.
  13. It Comes at Night
    It Comes at Night isn’t scary so much as it’s horrific, though Shults is extremely gifted at cultivating the kind of slow, droning dread that inflates in your chest like a black balloon.
  14. Band Aid
    There’s no linear path to being “okay,” or to overcoming grief, and Band Aid is ultimately as much about how people have to do these things on their own as it is about a couple doing it together.
  15. I, Daniel Blake
    This is a kitchen-sink hymn for the indomitable spirit of the common man.
  16. Wonder Woman
    This film is a goddamned blast. To merely call it the strongest entrant in the DC Entertainment Universe so far is to call Jaws the strongest entrant in the shark movie canon. Say what you will about Clark Kent, Bruce Wayne, and Deep Blue Sea, but Wonder Woman is in another class altogether.
  17. War Machine
    The humor and the indictment of the warrior mentality win out. Michôd’s better instincts take over, many of the crude jokes land with force, and Pitt is hilarious in this mode.
  18. Baywatch
    When it comes down to it, Baywatch’s central sin is that it’s just…not funny.
  19. Pirates of the Caribbean: Dead Men Tell No Tales
    There’s no voice, no style, and no real intrigue on hand. It’s all a slow sail to the next outsized setpiece.
  20. Berlin Syndrome
    Berlin Syndrome isn’t a sensational film; the emotions on display are warped and scarred, but rooted in identifiable desires. In some ways, this makes their impact that much more ingrained.
  21. Everything, Everything
    Everything, Everything is a film that achieves its ends in appealing fashion.
  22. Get Me Roger Stone
    Get Me Roger Stone offers its audience an unblinking, if disappointingly straightforward, look at the infamous operator.
  23. Snatched
    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.
  24. Alien: Covenant
    In one corner, you have Scott, fighting to tell an existential thriller about gods, creators, and evolution, and in the other, you have this obvious insistence to pay an ungodly amount of fan service to the past.
  25. The Wall
    Liman is no stranger to tense, effective thrillers – his last outing was the criminally undervalued Edge of Tomorrow – and on that level, The Wall surprisingly works.
  26. King Arthur: Legend of the Sword
    What we really get is a film made of utter nonsense that’s even less interested in its characters than it is in telling a story.
  27. Another Evil
    Another Evil may be a cheap thrill, but it has a unique take on the haunted house genre. Here’s a curious horror comedy that gets richer with every unexpected minute.
  28. Guardians of the Galaxy Vol. 2
    It’s the rare Marvel sequel that manages to expand on what came before in new and rewarding ways, while also striking its own distinct tone even as some of its narrative devices skew familiar.
  29. The Circle
    The Circle aims for slow-building dread, but Ponsoldt’s direction and the script are both so uncharacteristically stiff that the film’s tone never solidifies.
  30. Guardians of the Galaxy
    Director James Gunn’s first foray into big-budget movie making succeeds despite focusing on characters largely unknown to mainstream audiences and provides some of the most genuinely affecting moments of any Marvel film to date.
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