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 8.6 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. White House Down
    White House Down is never more than a sliver away from gleeful self-parody. It’s pure patriotic kitsch, the cinematic equivalent of a black-velvet painting of a bald eagle clutching an American flag in its talons as it soars majestically over Mount Rushmore.
  2. Salvo
    In the end, it’s Salvo itself that’s murky and obscure.
  3. Closer to the Moon
    Caranfil, who’s made several previous features in Romanian, struggles throughout to find the right tone, mostly in vain. There’s no way to know whether he was hampered by the need to go international, but the film’s general lack of authenticity certainly doesn’t do it any favors.
  4. Finding Fela!
    The parts of Finding Fela that best handle the tricky nuances of Kuti’s worldview are the parts that show Jones and the Fela! creative team grappling with those same questions.
  5. Alex of Venice
    The film is ultimately shackled to an ultra-conventional structure and form—workaholic learns about the important things in life through the power of wanly scored montages—and a good central performance from Mary Elizabeth Winstead isn’t enough to save it.
  6. Marie's Story
    Anyone who’s seen The Miracle Worker in any form will find Marie’s Story very familiar, and even perhaps a bit rote.
  7. K2: Siren of the Himalayas
    In this 75-minute straight shot of Discovery Channel cinema, no emotional crests are peaked, but viewers will come away informed.
  8. Gore Vidal: The United States of Amnesia
    With its autumnal, end-of-days feeling, Gore Vidal: The United States of Amnesia ends up serving as a capably assembled but deeply felt obituary for both its title subject and the late Hitchens.
  9. Bicycling With Molière
    The two leads are so strong in these parts that it’s too bad they rarely get the chance to do more with them.
    • 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.
  11. Jackpot
    Jackpot feels more like Guy Ritchie than the Coen brothers. It revels in moronic violence, unleavened by playfulness or wit.
  12. Alexander and the Terrible, Horrible, No Good, Very Bad Day
    It’s a painfully minor movie that doubles as an accidental study in how pros handle themselves when given less-than-challenging material.
  13. The Love Punch
    Thompson and Brosnan really are fine romantic foils. They deserve a better movie to trade barbs in. They deserve better barbs to trade.
  14. Life After Beth
    The misused cast is just one of many examples of the unrealized potential of Life After Beth, a film that has good bones, but not enough meat, guts, or—most damningly for a zombie movie—brains.
  15. Skin Trade
    Everyone’s there to get the job done, Dolph Lundgren style, meaning Skin Trade is a throwback to the one-man-army actioners of the ’80s, sprinkled with updated stats on human trafficking. If the film happens to raise awareness, then that’s more bonus than objective.
  16. St. Vincent
    St. Vincent is even sappier and more committed to yanking heartstrings and manipulating emotions than Hyde Park On Hudson or The Monuments Men, and ultimately even more precious and treacly.
  17. Carrie
    Despite the talent involved and the notoriety of the source material, Carrie feels strangely small, even television-sized.
  18. Saint Laurent
    Superficiality reigns here. Arguably, that should dominate a movie about a fashion designer. But fashion shows run 10-20 minutes, not two and a half hours.
  19. For No Good Reason
    For No Good Reason is an absolute mess from start to finish, a portrait of an artist that’s almost rendered redundant by his art. And yet, for all its failings, the film is engagingly in tune with the man who inspired it.
  20. Believe Me
    Will Bakke’s Believe Me is a textbook lesson in how glossy cinematography and an appealing cast can compensate for an undercooked script.
  21. Whitewash
    Church’s indelible character study can only carry this wan, skeletal picture so far.
  22. 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.
  23. The Green Prince
    The Green Prince relates gripping events in a doggedly subdued manner, via direct-to-camera interviews and dramatic re-creations.
  24. Lilting
    Within the limitation of their roles, all the actors do solid work... but the movie’s tone is doggedly, almost noxiously sincere, verging on downright moist.
  25. Accidental Love
    Accidental Love isn’t very good—and might never have been very good, judging from the general air of desperation—but much of it is identifiably Russell’s work, and its scattered best moments recall Huckabees’ inspired loopiness.
  26. The German Doctor
    There’s just not much of real import in this quasi-historical semi-thriller.
  27. The Theory of Everything
    Despite a handsome production and two genuinely brilliant lead performances, The Theory Of Everything stumbles into virtually every pitfall that afflicts biopics about geniuses.
  28. Blackhat
    Though the pacing is lumpy, to say the least, Blackhat occasionally bursts to life when Mann breaks out one of his signature action setpieces, which have the distinct pop of heavy artillery and the immediacy of video.
  29. Life of a King
    Life Of A King manages to sustain a hilariously over-the-top tone of naked sincerity from start to finish.
  30. On My Way
    While her film abjectly fails in reconciling its modest ambitions with its ungainly story, Bercot was certainly right to trust that Deneuve’s compulsive watchability—and her palpable connection to the part—would be enough to anchor this otherwise weightless coming-of-old-age saga.
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