Looper's Scores

  • Movies
  • TV
For 169 reviews, this publication has graded:
  • 59% higher than the average critic
  • 1% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Hamnet
Lowest review score: 10 The Electric State
Score distribution:
  1. Positive: 90 out of 169
  2. Negative: 14 out of 169
169 movie reviews
  1. While some of the old magic might be a little lost in translation, "Beverly Hills Cop: Axel F" still manages to deliver just about everything we could have hoped for from a legacy sequel in this franchise. It's funny, it's action-packed, it's got heart, and it's got Eddie Murphy proving once again that he's still got it. What more could you want?
  2. As a fun way to kill 95 minutes with your family, "Despicable Me 4" is an unassailable success, even if anyone hoping for more than clearing that low bar may be left wanting.
  3. It's a great time at the movies for slasher fans, '80s pop culture fans, and Mia Goth fans alike, and even with a few stumbles in mind, it manages to stand as one of the summer's must-see films.
  4. As a whole, "Day One" is different enough from its predecessors while meeting similarly high marks of filmmaking craft, resulting in a solid piece of popcorn filmmaking.
  5. It looks beautiful, and there are no weak links within the stacked ensemble, but it winds up feeling alarmingly empty.
  6. Despite my questions and quibbles, I'm still happy this sequel exists, even if it falls short of masterpiece status.
  7. Shyamalan may have inherited her father's love of the twist ending, but the one she creates in "The Watchers" is as unearned and unsatisfying as they come.
  8. Whether or not it proves a financial success, Bad Boys: Ride or Die is shocking in how effectively it pleases a crowd. It continues the work of "Bad Boys For Life," breathing new energy into a thirty year old franchise that, on paper, should have ran out of steam by now.
  9. It's the incomparable Strong who steals the show as Cohn, the Pygmalion who carves Trump out of spray tan and ill-fitting suits to make him into the monster he becomes.
  10. Like many high-concept satire movies, it works best in its first act when it's still setting everything up, then it loses steam when it's not quite sure where to go with the idea. The end result is an uneven yet still entertaining satirical romp, bolstered by engaging performances from its top-notch cast.
  11. Furiosa: A Mad Max Saga is a good movie that has either the fortune or the misfortune of existing as a prequel to a nearly perfect movie.
  12. Emilia Pérez can certainly be messy, but it's rarely a mess, and many audiences might just fall in love with its audacious, chaotic energy.
  13. Entertaining yet depressing, surreal yet too real, frustrating yet somehow cathartic, "I Saw the TV Glow" leaves such a strong impression that it's hard to stop thinking about it days after seeing it.
  14. Even though the film is essentially a sonnet with car crashes dedicated to the men and women behind the movie stars, much of the film's majesty comes directly from the charisma of its leading man.
  15. The craft is there. The new characters are solid enough. Visually it's a real treat to behold. But 145 minutes is too long to spend retreading the recent past.
  16. It's muddled in the extreme and few of its cast members make it out of the debacle unscathed, but its willful rejection of what audiences might want to see in favor of what Francis Ford Coppola wanted to make is so bold you almost have to admire it.
  17. If nothing else, Kinds of Kindness features three show-stopping performances from Jesse Plemons, giving Lanthimos a new muse to champion.
  18. IF
    It's a movie about the boundless imagination of children that could only have been made by a cynical adult mind, careful to restrict itself from attempting anything bold so it can algorithmically copy everything that has worked throughout decades of Amblin classics, albeit devoid of genuine heart or charm.
  19. In trying to reinvent the lazy feline for modern kids, the filmmakers have lost track of the comedic tone that has helped these simple, gag-driven stories endure for decades.

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