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 8.3 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. Hellion
    Hellion lingers for most of its running time in a betwixt-and-between place, never becoming either the sublime character sketch or the overripe melodrama it alternately promises to be.
  2. Our Vinyl Weighs a Ton: This Is Stones Throw Records
    The filmmakers behind Our Vinyl Weighs A Ton benefit and suffer from an excess of fascinating subject material.
  3. Test
    Test is a slow burn that builds to an impressive end, although the rest of film is in need of that same kind of forward-driving energy.
  4. Ping Pong Summer
    The film’s reliance on formula and stereotypes wouldn’t be so frustrating if that formula worked and provided the glib pleasures the filmmakers are going for; instead, Ping Pong Summer feels stilted, undernourished, and oddly sour.
  5. Burning Blue
    Burning Blue expends most of its energies mitigating against potential flaws, with very little left over to push it over the top and into the realm of quality independent cinema.
  6. The Case Against 8
    With its action taking place primarily in the beige-walled, wood-accented environs of legal offices and courthouses, The Case Against 8 compensates for its visual blandness with good old-fashioned storytelling.
  7. The Fault in Our Stars
    While The Fault In Our Stars is more pastel watercolor than hard-edged drama, it’s still hugely warm and winning, thanks in large part to Boone’s unfussy, wistful direction.
  8. The Moment
    The Moment is a stilted, asinine Hitchcockian exercise that ultimately serves as little more—and often considerably less—than a needless reminder of how difficult it is to execute this kind of material.
  9. 2 Autumns, 3 Winters
    This is a film that moves too erratically to ever gain momentum, seemingly by design.
  10. Borgman
    There isn’t a bad scene in Borgman... But van Warmerdam just keeps on teasing and teasing, until the creeping suspicion sets in that teasing is all the film is going to do.
  11. Edge of Tomorrow
    Edge Of Tomorrow’s finale can’t live up to what’s come before, though that’s mostly because what comes before is so rich and unusual, particularly in the middle of a summer blockbuster season that doesn’t always value richness or novelty.
  12. Obvious Child
    Despite its attention-grabbing logline and gleeful embrace of raunchy, frequently scatological humor, Obvious Child is at heart a well-realized, straight-ahead rom-com, one with the potential to reinvigorate a genre that’s been flagging for decades.
  13. Supermensch: The Legend of Shep Gordon
    Supermensch is a loving tribute to a friend, but in gushing effusively and endlessly over Gordon—who, it should be noted, really does seem like a great guy—Myers shortchanges the audience.
  14. Rigor Mortis
    Rigor Mortis can’t fully work for a Western audience, but it does at least provide a fascinating glimpse of a strange genre that never quite crossed over.
  15. Dormant Beauty
    Dormant Beauty always comes back to the difficult decisions that family members have to make for each other, contrasted with the huffiness of outsiders who try to project their own beliefs onto someone else’s business.
  16. Willow Creek
    Willow Creek does everything a little bit better than others of its kind. It’s a little wittier, a little more insightful, a little more imaginative, a little scarier.
  17. Lucky Them
    It’s clearly more interested in dissecting these characters than in solving the mystery of Matthew’s disappearance. That’s the advantage of casting actors like Collette and Church, who can lure viewers into a confident familiarity, then reveal something deeper.
  18. Maleficent
    Maleficent is out of balance in all sorts of ways. The effective silent sequences conflict with the frustratingly talky ones. The new material fits poorly with moments that directly quote the classic.
  19. Korengal
    Korengal isn’t a profound portrait of people fighting for our freedom, but a modest look at the human engine of the military-industrial complex.
  20. Emoticon
    Despite its slim 79-minute runtime, Emoticon ;) is crammed with a startling number of subplots, which mostly struggle to address some of the large issues they present and subsequently abandon.
  21. The Grand Seduction
    With just a couple of strong casting choices and a winsome tone, an old formula can still work, and The Grand Seduction comes out of the lab with a disarming readiness to please.
  22. Age of Uprising: The Legend of Michael Kohlhaas
    With his thin-lipped, narrow-eyed, disquietingly symmetrical face, Mikkelsen is nearly as good a prop as he is an actor. That impassive but selectively expressive mug is what makes Age Of Uprising’s climax shocking and memorable, but not at all in the way viewers will be conditioned to expect.
  23. A Million Ways to Die in the West
    MacFarlane’s follow-up feels less like a film than like an extremely long, fairly inspired live-action episode of Family Guy, one that’s only as strong as the latest gag or riff. And this being a Seth MacFarlane production, those gags and riffs are of varying levels of quality.
  24. The Big Ask
    There’s little sense that these people are friends for any reason besides the script saying so, and the contrasts between the three relationships produce no real insight in this hollow, irritating drama.
  25. We Are the Best!
    As vibrant and ingratiating as We Are The Best! is, the movie lacks the more satisfying fullness of Moodysson’s Together and Lilya 4-Ever.
  26. Night Moves
    Night Moves is a film of deliberate, gnawing intensity and focus, built around a Jesse Eisenberg performance that doesn’t give much away, at least not easily.
  27. The Life and Crimes of Doris Payne
    To Pond and Marcolina’s credit, this isn’t just a character study of an ever-adventurous klepto-gran. The documentary also raises questions about whether a professional liar can ever really stop lying.
  28. Grand Départ
    In the absence of narrative urgency or fresh storytelling devices, Grand Départ lives or dies with Marmaï’s performance, but like everything else around him, he’s merely adequate.
  29. Stand Clear of the Closing Doors
    Though it has the dramatic apparatus of fiction, the film unfolds with a documentary-like openness to the world around it.
  30. X-Men: Days of Future Past
    At its best, Days Of Future Past feels not just like an X-Men comic book, but like an X-Men comic-book crossover... Like Days Of Future Past, crossovers in comics tend to be light on character development. But when they’re good, the huge stakes and epic scale of the action make them hard to put down.
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