Original-Cin's Scores

  • Movies
For 1,689 reviews, this publication has graded:
  • 75% higher than the average critic
  • 5% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 10.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Memories of Murder
Lowest review score: 16 Nemesis
Score distribution:
1689 movie reviews
  1. Agnes is a genre breaker that veers into unanticipated areas of drama, some of it absurd, some street-wise, and yet inescapably entertaining.
  2. Beyond the humor and pathos, Will & Harper is a touching and heartfelt exploration of friendship.
  3. One of the pleasures of Support the Girls is that it explores the constant fender-benders of sex, race, class, and age without ever coming off as preachy or lecturing.
  4. The women's stories are devastating. And familiar.
  5. Furiosa: A Mad Max Saga is not likely to make the same rounds at the Academy Awards as its predecessor. But it remains a winning formula. And when someone tells you that it has the best action sequences put to film—believe them.
  6. It’s an exceedingly black comedy threaded through with intense drama that completely deconstructs the rom-com, casting it as both a shiny and sinister thing… and one frequently inducing vomiting.
  7. May December is a movie about moral gray zones, a look at contemporary culture through the unique Todd Haynes lens. What’s involved are great writing and great performances.
  8. City-dwellers may go their entire lives without realizing that the greatest movie screen of all is above their heads, telling billions of stories.
  9. The film is immersive, in the sense of the frog in gradually heating water, where you reach boiling point before you realize it.
  10. The Menu is the most entertaining ensemble film since Knives Out, and the most engaging horror-satire since Get Out. But no matter what comparisons and assumptions are made, The Menu will not be the movie you expect.
  11. Simply said, there is magic in this film, rising out of simple observations, allowing the camera to linger through moments of play, pausing for glimpses of charity while holding fast to the possibility of tragedy. A film that nurtures a balance of trust with betrayal.
  12. It is at times a terrifically uncomfortable movie to watch. But director Michel Franco's New Order, a searing and relentlessly grim indictment of class division and government corruption, scans not only as possible but entirely likely given our current world. Heavy doesn’t begin to describe it.
  13. Legacies don’t come more dazzling. Sidney is a fitting tribute.
  14. Though I am sure there will be many more family memory films, Blue Heron sets the bar at a new level.
  15. Sorry, Baby, the feature debut of American writer-director Eva Victor, who also stars, is a clear announcement of an original new talent able to create highly inventive visuals with a limited budget. It is also a terrific — and sad and funny and contemplative — testimony about how trauma profoundly stains people’s lives, with far-reaching and unpredictable outcomes.
  16. Ultimately One Battle After Another is about a father and daughter, and I think about one of PTA’s big themes: Love. But that’s just me.
  17. It’s bonkers and a hell of a film. And even better, with The Lighthouse, Eggers establishes that he’s more than a one trick pony. He’s a true original, auteur and clever filmmaker who isn’t interested in pandering.
  18. This is pared-down storytelling that leaves you to draw your own conclusions, but nobody’s dreams are coming true here. Filmmaker Franco seems to assume his viewers will be paying attention, so Dreams is a typically understated affair, just slightly chilly in its detachment and stripped down in action and in dialogue. Money talks, though.
  19. A work of sublime sweetness and beauty.
  20. Evil Does Not Exist, the new film from Drive My Car director Ryûsuke Hamaguchi, is a slow-burning wonder, an eco-fable of meditative beauty and menace, down-to-earth realism, and mythic resonances.
  21. In evocative and understatedly emotional scenes, carried out with a mature grace by Banderas, we come to a connection of how we get where we are, and what holds us back from what we dream of becoming.
  22. Ash Is Purest White — constantly dislocating and unpredictable moment by moment — feels all of its 135-minute running time but long after, the individual sequences hang in the memory.
  23. Poor Things is like nothing else you’ve seen this year: A darkly comic satire set in a dazzlingly designed steampunk world. It plays like it’s for fun, but is built around a deep philosophical core, that is ultimately about living authentically.
  24. Quiet, understated and unforgettable, The Mustang is a winner by five lengths.
  25. Rosaline is a delight from start to finish, a brisk, bright-eyed, and inventive romantic comedy with constituent parts that probably shouldn’t work this well together but do.
  26. Given the devotion Ball continues to inspire in fans, it was perhaps too great a challenge for anyone to live up to casting expectations. Still, Being the Ricardos hits all the right notes, making these larger-than-life people seem at once pointedly human and even more ground-breaking than ever.
  27. There’s a lot more going on than meets the eye in Steven Soderbergh’s wise and deceptively breezy new film Let Them All Talk.
  28. As you might expect from King, The Monkey is dark, ruthless, and violent. What you might not expect is just how funny it is. Like, it's genuinely hilarious.
  29. Freaks is a mind-bending thriller that is subversive enough to be rebellious, and in this era of CGI superhero cinema, the revolution is welcomed.
  30. On the surface, it’s a simple enough premise: a young woman transitioning into adulthood, trying to find her place in the world. But in the hands of Norwegian director Joachim Trier, The Worst Person in the World is at one level a social satire about love, identity and relationships, and at the same time, a warm and deeply poignant look at the imperfect way life can creep up on us.

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