The Dissolve's Scores

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For 1,570 reviews, this publication has graded:
  • 37% higher than the average critic
  • 5% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 8.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Grey Gardens
Lowest review score: 0 Sin City: A Dame To Kill For
Score distribution:
  1. Positive: 580 out of 1570
  2. Mixed: 771 out of 1570
  3. Negative: 219 out of 1570
1570 movie reviews
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  1. Mr. Majestyk
    Bronson playing another strong man who would prefer not to have to kick as many asses as circumstances demand. Bronson is Vince Majestyk, a Colorado melon farmer who stands up against a criminal syndicate and the local law when he hires migrant day laborers to bring in his crop, rather than using the local mob’s drunken goons.
    • 51 Metascore
    • 60 Critic Score
    Meet Me in Montenegro
    Holdridge and Saasen should get credit for making sure the obstacles to their happiness aren’t romance-movie contrivances, but rather the sorts of things that—to paraphrase another famous writer—happen to people while they’re busy making other plans.
  3. Jimmy's Hall
    If this is, as he claims, indeed his last film (or at least last big narrative feature), he’s retiring with the courage of his convictions intact. If only he was expressing them more vigorously.
  4. Jackie & Ryan
    There’s not much to Jackie & Ryan, which is what almost makes it something special.
  5. Terminator Genisys
    The setpieces, in addition to mostly rehashing better scenes from earlier films, feel thrown together to serve the effects, and the effects look far less astonishing than anything in Cameron’s first two films.
  6. Max
    There’s a touching story here about a boy getting over his grief and narcissism by nursing a dog through its own set of traumas, but Max is far too gung-ho about playing up the pup’s heroism and self-sacrifice to give it much time to develop.
  7. The Little Death
    Generally speaking, the more obscure the fetish, the worse the subplot gets, though they all wear out their one-joke welcome before Lawson inevitably turns up the sentiment and makes the film about love and kids and happy unions.
  8. The Princess of France
    The Princess Of France ambles from one low-key encounter to another, rarely engaging directly with the Bard, and never elevating its heart rate beyond the resting level.
  9. Felt
    The payoff may be predictable, but Banker and Everson are refreshingly unclear about how they—and viewers—feel about it. They just stay true to their protagonist’s feelings, see their premise through to the end, and leave it others to sort out. For a thesis-statement of a movie, that’s the riskiest possible conclusion.
  10. A Murder in the Park
    As a loaded summary of an important, disquieting chapter in Illinois legal history, A Murder In The Park gets the blood boiling, and suggests a justice system open to manipulation by bad actors.
  11. The Midnight Swim
    Burdge, Lafleur, and Palladino are effortlessly believable as sisters, but that only makes it seem like a shame that the script doesn’t take fuller advantage of their innate chemistry.
  12. Fresh Dressed
    It’s fun to watch the decades go by and the fashions change, but though Fresh Dressed takes its subject seriously, it ends up feeling superficial.
  13. Advantageous
    The ideas are admirably heady, and Phang, making just her second feature (after 2008’s little-seen Half-Life), demonstrates a sure hand with both her imaginative milieu and her cast.
  14. A Little Chaos
    There are weeds here, thorny stuff to slash through, but when A Little Chaos stays on course, there’s plenty of beautiful work to admire.
  15. 7 Minutes
    It’s handsomely shot and reasonably well-acted, and it’ll likely get Martin better gigs as a director, if not a screenwriter.
  16. Big Game
    Big Game tries a little of everything, but ultimately settles into being a scrappy, lower-budget spin on the Big Dopey Action Movie genre. And as with nearly every stab at the BDAM, the audience’s satisfaction will depend largely on just how dopey they expect it to be.
  17. Escobar: Paradise Lost
    Escobar: Paradise Lost takes such a limited view of this multi-faceted figure that it fails as portraiture, and the real center of the film is too much of a bland good guy to compensate.
    • 59 Metascore
    • 50 Critic Score
    The Wanted 18
    It’s a story of utopia ruined by evil Israeli oppressors, and though that’s certainly accurate on some level, the film simply doesn’t go into enough detail, or question the interviewees’ rose-tinted nostalgia.
  19. Dope
    Happily, what Dope does well, it does extremely well—namely letting Malcolm, Diggy, and Jib hang out together and navigate the world on their own terms. All three leads are charming, and together, they convey a real sense of camaraderie, the kind that only develop between misfits who find each other.
  20. Infinitely Polar Bear
    As good as Ruffalo and Saldana are, the best parts of the film are the lovely, unpretentious performances by Imogene Wolodarsky (Forbes’ daughter) and Ashley Aufderheide as Cam and Maggie’s daughters.
  21. Manglehorn
    Pacino never goes too big, as he’s had the tendency to do for a while, but he also never goes deep. Manglehorn wanders and rambles, and the movie follows along dutifully, even though there isn’t much to see along the way.
  22. Rubble Kings
    The film’s brevity really does work against it, giving Nicholson cover to fly by the history of gang warfare without having to dwell on anything for too long.
  23. Balls Out
    The film’s greatest virtue is Disney’s ability to poke fun at sports-flick tropes while simultaneously embracing them. No cliché goes untackled; Disney and his first-stringers leave it all on the field.
  24. Soaked in Bleach
    There’s just not enough innovation or insight here to stretch a footnote to feature-length.
  25. The Stranger
    Once Amoedo lays all the cards out on the table, The Stranger feels like a piece of genre revisionism only in its deliberate, grinding pace, not in any refreshing turns of the plot.
  26. Live From New York!
    Given the wealth of possibilities, this doc’s superficial, exceedingly polite approach is a big disappointment.
  27. The 11th Hour
    It’s bracing to see Basinger take on something this dark, even if the darkness is empty.
  28. Chagall-Malevich
    Kitted out with colorful and creative scenes that aim to depict Chagall’s dreamy, expressionist work within the film’s framework, Chagall-Malevich shoots high, though it often comes crashing down to Earth.
  29. Jurassic World
    It’s fun, but it’s ultimately more of the same in brand-new packaging.
  30. Set Fire to the Stars
    Visually striking, meticulously rendered, a tiny bit pretentious, and emotionally inscrutable.
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