Philadelphia Inquirer's Scores

  • Movies
  • TV
For 4,176 reviews, this publication has graded:
  • 70% higher than the average critic
  • 3% same as the average critic
  • 27% 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 Hell or High Water
Lowest review score: 0 The Mangler
Score distribution:
4176 movie reviews
  1. Foxx makes what he does look effortless. He's the reason to see Collateral, as he walks into the frame and walks off with the picture.
  2. Looking for plausibility in a farce is like looking for a million dollars in a box of breakfast cereal, but elements of real life can make a comedy resonate instead of thud. Little Black Book does the latter.
  3. Without doubt one of the scariest, creepiest, gut-churningly unsettling pictures to come along in ages.
  4. Sure, there are holes in The Manchurian Candidate, and tenuous coincidences and too-convenient plot devices. But Washington, Schreiber, Streep and company - and Demme - have managed to make all the malevolent machinations seem relevant again.
  5. It's clean and cheerful entertainment, blithely piggybacking on a beloved classic. No wonder Anderson washed his hands of this project - the filmmakers tampered with and trampled on his magic formula.
  6. A third-generation performer, this daughter of actor-director Ron Howard makes a stunning feature debut.
  7. Both a concert film and a more intimate thing: a fascinating, fly-on-the-wall (or fly-in-the-dining-car) glimpse of some clearly blotto rock legends talking, singing, hanging out. The fact that a good number of them are now dead makes it doubly memorable.
  8. The twist of Harold & Kumar Go to White Castle, a laugh-out-loud if not-exactly-good stoner comedy, is that its heroes, an entry-level investment banker and a brainiac pre-med student, are not dimwits.
  9. Light and droll, but with an undercurrent of moody suspense.
  10. The best performances are those of Portman and the resourceful Peter Sarsgaard (Shattered Glass) as Mark.
  11. Like most Lee films, She Hate Me is gasp-worthy, with something to offend everyone. I will not say that I liked it. I will say that like "Bamboozled," it exasperates and resonates.
  12. A boisterous and improbably entertaining action comedy.
  13. Supremacy has thrills, but without Potente's presence, it loses its soul.
  14. Catwoman, which talks about the "duality" inside all women (wild vs. docile, rapacious vs. cuddly), does have its guilty pleasures. Most of these come courtesy of ice queen Stone.
  15. The beautiful Wright Penn has a harder time anchoring the free-spirited Clare in territory that feels honest and true - there's a stagey quality to the actress' performance that goes beyond the stagey quality of her character.
  16. A thinker and an educator, Zinn has led a life of commitment and compassion, and the film offers a loving tribute.
  17. A mostly charmless affair.
  18. For its first two acts this flashy vehicle is an anodized titanium streamline baby. Then comes a robot rumble that brings the action to a crashing halt.
  19. Moreno, with her wide, watchful eyes, owns the camera - and the film. Her performance is perfectly natural and profoundly moving. Maria Full of Grace is a remarkable picture, full of suspense and discovery.
  20. Sadly, the combination of gauzy photography and cheesy music gives the film the aura of a fragrance commercial.
  21. A handsome-looking movie that's full of the muted greens, browns and grays of the tony Hamptons, director Williams' tale never quite finds its footing.
  22. An engagingly knuckleheaded comic vehicle for former Saturday Night Live trouper Will Ferrell.
  23. That a detente between the cliques is unthinkable, that they could never eat at the same table, is one of many assumptions that makes Sleepover such a downer.
  24. For those dazed and dazzled by surf anarchists Noll and Clark, Hamilton comes off as the sport's technocrat, but he boldly goes where no surfer has gone before.
  25. This glum and grandiose new King Arthur has little to do with the Camelot monarch we've come to know through books and film.
  26. This intelligent, postmodern biography from director Irwin Winkler and screenwriter Jay Cocks uses Porter's songs, by turns haunting and hilarious, to decode and reconstruct a life hinted at in the familiar words and music.
  27. It's great to see an American filmmaker - and a successful one at that - willing to simply train his cameras on the actors and let them, and their characters, come to life.
  28. Classy but ultimately unsatisfying film.
  29. A pumped-up, plotless montage of extraordinary landscapes, colorful wildlife, and interesting people performing feats of derring-do.
  30. This soulful tale of a teenage underachiever who exhibits flashes of genius is a surprise on the order of wandering the movie desert and finding the Garden of Eden.

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