The Independent's Scores

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For 590 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Dune: Part One
Lowest review score: 20 Snow White
Score distribution:
  1. Positive: 289 out of 590
  2. Mixed: 275 out of 590
  3. Negative: 26 out of 590
590 movie reviews
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  1. Jurassic World Rebirth
    There is something nostalgic about Rebirth. And yet that cosy feeling is achieved primarily through composer Alexandre Desplat’s targeted deployment of John Williams’s original theme, and through the way Koepp and Edwards lightly pay homage to certain, familiar sequences (there’s a scene of a kid dodging between aisles here, too, just like with the raptors in the kitchen).
  2. Snow White
    What’s most disheartening about it all is how predictable Disney’s choices have become. With Snow White, they’ve finessed their formula – do the bare minimum to make a film, then simply slap a bunch of cutesy CGI animals all over it and hope no one notices.
  3. Ruby Gillman, Teenage Kraken
    Ruby Gillman, Teenage Kraken fails to see its own potential – it’s never quite sharp enough to work as a parody, nor sincere enough to make its adolescent insecurities relatable.
  4. Champions
    When it comes to “The Friends”, there’s some great comic timing – Iannucci, Tevlin, and Metcalfe are particular stand-outs – but it’s hard to shake how frequently these jokes are written at their expense.
  5. My Policeman
    There are major moments of pain and betrayal that should feel like a punch but remain curiously ineffective. Sussex’s wonderful secret beaches and pockets of drizzly suburbia somehow seem strangely anonymous here. And Ron Nyswaner’s script is full of lines of clunking portent.
  6. Ticket to Paradise
    It’s a joy to watch Julia Roberts and George Clooney fall in love. It’s an even greater joy to watch them bicker.
  7. You People
    You People carries the unresolved, disjointed tension of a sitcom that’s been stretched to the two-hour mark.
  8. Blonde
    Blonde is not a bad film because it is degrading, exploitative and misogynist, even though it is all of those things. It’s bad because it’s boring, pleased with itself and doesn’t have a clue what it’s trying to say.
    • 49 Metascore
    • 60 Critic Score
    None But the Brave
    An unspectacular but solid, ensemble (anti-) war movie, considered moderately progressive in its day for the way it describes the war in the Pacific from both sides. [19 Jun 2010, p.26]
    • The Independent
  10. Sing 2
    In Sing 2’s defence, the film is at least enthusiastic about its own overabundance, and the new celebrity voice additions – Halsey’s mollycoddled, rich-girl wolf or Letitia Wright’s street-dancing lynx – fit nicely into the mix.
  11. Don't Look Up
    There’s something oddly satisfying about the way McKay's film lets us laugh at our own doom.
  12. The Gray Man
    Everywhere looks so slick and empty that it’s impossible to differentiate any scene from your standard luxury hotel ad.
  13. The Miracle Club
    The Miracle Club certainly seeks to capture a feeling of “home” – but it’s not entirely clear for whom.
  14. Bullet Train
    Pitt’s funny here – there’s a precise comic timing to the way he shoves a venomous snake down a toilet bowl – but Bullet Train feels so try-hard in its quirky theatrics that it’s a little like watching a kid repeatedly calling for their mother’s attention before they cartwheel into a brick wall.
  15. Amsterdam
    The thing is, there is a great film in here fighting to get out, but it’s drowned out by manic plotting, self-indulgence, and a thickly laid-on, twee message about love and art.
  16. How to Make a Killing
    How to Make a Killing is too timid to either defend his actions or to render him genuinely unlikeable, leaving Becket as nothing but a formless pile of dough.
  17. Venom: Let There Be Carnage
    Venom: Let There Be Carnage is a love story written in blood, sweat and the slime of half-eaten brains.
    • 49 Metascore
    • 60 Critic Score
    Ice Station Zebra
    A dated but still serviceable Cold War thriller about a US nuclear sub racing the Russians to the North Pole to retrieve some film from a downed Soviet satellite. [19 Jun 2010, p.26]
    • The Independent
  19. The Salt Path
    There’s little effort to make us understand the failed systems that led them to this point, or the new normalcy they’re forced to adjust to – indeed, any of the more subtle, complex facets of this story.
  20. The Beanie Bubble
    The Beanie Bubble is convinced there’s a victory buried in this story somewhere. It’s just not clear who or what we should be celebrating.
  21. TRON: Ares
    The music’s great, but this Jared Leto vehicle is otherwise an ethically dubious, horribly written nadir in franchise slop.
  22. Mothers' Instinct
    There’s an odd timidity here that borders on self-denial.
  23. Dashcam
    Dashcam is pure chaos, headlined by a character with a maelstrom for a personality.
  24. Joyride
    It’s hard to treat Joyride just as a pleasant but easily disposable romp, especially when Reynolds loads up the film with so much cheap symbolism.
  25. Jeanne du Barry
    Against the odds, Jeanne du Barry has turned out to be a subtle and well-crafted costume drama with plenty of satirical bite.
  26. Gran Turismo
    It’s a film that might as well have been the marketing department’s power-point presentation.
  27. Cat Person
    By the end, Cat Person has killed any hope of a real conversation about modern love.
  28. Ant-Man and the Wasp: Quantumania
    Thankfully, Quantumania coughs up a decent amount of the mania promised in its title – it’s done a far better job, at least, than last year’s Doctor Strange in the Multiverse of Madness, which was miserably sane.
  29. Don't Worry Darling
    It is a messy, convoluted affair with some very contrived plotting.
  30. Jimpa
    Jimpa is a film about a director who’s too afraid of conflict that is, itself, too afraid of conflict.
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