The Reveal's Scores

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For 109 reviews, this publication has graded:
  • 32% higher than the average critic
  • 1% same as the average critic
  • 67% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 One Battle After Another
Lowest review score: 30 Michael
Score distribution:
  1. Positive: 55 out of 109
  2. Mixed: 52 out of 109
  3. Negative: 2 out of 109
109 movie reviews
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  1. Disclosure Day
    The politics of Disclosure Day are allusive at best, but Spielberg and Koepp are strongly aware that they’re making a film at a polarizing time, when human qualities as basic as empathy and openness are not something we can expect everyone to possess. Spielberg isn’t the type to succumb to cynicism, even now, but Disclosure Day turns uncertainty into its own level of tension, right through the emotional final moments of the film.
  2. Carolina Caroline
    Carolina Caroline posits itself as more of a tragic love story than a traditional crime picture, and it’s Weaving’s affecting performance that finally keeps the film ahead of the heat.
  3. Masters of the Universe
    A little of Masters of the Universe’s cheeky awesomeness goes a long way. The film’s 141-minute running time means there’s a lot of Masters of the Universe’s cheeky awesomeness. It’s not exhausting—if anything, the film’s second half improves on its first—but it does grow repetitive.
  4. Power Ballad
    The central drama of Power Ballad isn’t who deserves credit for that feat but who can survive it with their souls intact.
  5. Pressure
    The drama leading up to the event is played at the highest of stakes, and Scott’s terrific performance, understated yet firm in its conviction, gives the film the same sturdy backbone that Stagg provided for the good guys.
  6. Backrooms
    Backrooms feints at explaining what’s happening and why, then backs away. It’s all the better for keeping it a mystery and letting its distorted vision of the recent past provide a dark reflection of our present.
  7. I Love Boosters
    It’s a lot, occasionally too much, but it’s pointed and funny and Palmer’s vulnerable performance serves as an emotional anchor no matter how wild the world around her becomes.
  8. Star Wars: The Mandalorian and Grogu
    The basic formula of a bounty hunter and his lovable, Force-wielding companion delivers the goods, even if the setpieces tend to bleed into each other after a while. What’s missing is variety and soul, replaced by the dusty returns of Favreau and Filoni still playing around in someone else’s sandbox
  9. The Wizard of the Kremlin
    There are some good lessons here about how a country can slip past oligarchy into full-on Orwellian autocracy, but Assayas cannot find the right packaging for it.
  10. Obsession
    Some of Obsession works, but it’s ultimately only good enough to make it easy to wish it was much better.
  11. Is God Is
    Directing with the assurance of a veteran, Harris pairs the stylized lyricism of her play to a kinetic, sweat-drenched grindhouse aesthetic that’s at once gripping and repellent without overwhelming the complicated, conflicting emotions that drive the sisters to do what they do.
  12. The Sheep Detectives
    It’s a lively but also lovely kids film about what happens when you can’t just be a kid anymore.
  13. Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D)
    Though Hit Me Hard and Soft doesn’t “reinvent” the concert film, as the promotional language promises, Cameron’s mastery with 3D photography does make for an immersive experience, and there are some playful touches, too, like a handheld 3D camera that Eilish often holds in her right hand while the microphone rests in her left.
  14. Deep Water
    There might not be anything in Deep Water that hasn’t been done better in other movies, but that doesn’t mean it isn’t done well here. And there’s something to be said for its efficiency: The conspicuous acts of homage often make it like you’re watching three or four different movies at the same time.
  15. The Devil Wears Prada 2
    The more Frankel and McKenna acknowledge that their fresh-out-of-college heroine is now a seasoned editor in her 40s, the better The Devil Wears Prada 2 gets, not least because it doesn’t have to jettison the upscale fantasies and juicy machinations of Miranda's world entirely. Like Miranda herself at one point in the movie, it’s healthy to spend a little time flying in coach.
  16. Mother Mary
    The words these characters say to each other are mostly boring and obscure, and it’s a mad scramble to figure out what’s making them so agitated. Keeping up with the film becomes as hard as it is to care.
  17. Michael
    If you have an audience that doesn’t mind a story that includes lies, aversions, and omissions so long as it doesn’t get in the way of thinking too much about the songs they love and uncomfortable truths about the artist who created them, you don’t even have to put that much effort into what you’re making up.
  18. Blue Heron
    While Blue Heron has an experimental quality that might encourage you to intellectualize the way film processes memory, its payoff is as personal and emotional as movies get. It’s one from the head and the heart.
  19. Normal
    Without spoiling Normal’s central twist, suffice it to say that it leads to a lot of gunplay that allows Wheatley to off one character after another in violent, sometimes explosive fashion. It’s more wearying than shocking, but not fatally so thanks to a brisk pace, a willingness to shift gears with little warning, and, again, Odenkirk’s humane performance.
  20. Lee Cronin's The Mummy
    The Mummy takes its silliness far too seriously.
  21. Exit 8
    After an opening stretch that retains the film’s first-person perspective, Kawamura skillfully uses long, fluid takes and compositions that create a sense of unease about what might be just out of frame. But Exit 8 only fully commits to horror in a few select scenes.
  22. You, Me & Tuscany
    It’s a piece of escapism that can’t escape from itself.
  23. Faces of Death
    It’s not badly executed, but there’s nothing scary or clever enough to set it apart from similar films beyond the Faces of Death connection, a throwback meta cloak wrapped around a merely good-enough modern horror movie.
  24. The Christophers
    The Christophers is a slippery customer, an ingenious and twisty two-hander that shifts in tone as Lori and Julian get their hooks into each other. Coel and McKellen prove to be a combustible pair, two actors of contrasting generations, genders, and race who parry in darkly funny sessions that morph in complexity as their characters continue to try to outflank each other.
  25. The Super Mario Galaxy Movie
    The Super Mario Galaxy Movie is, like its predecessor, solidly put together and even elicits a chuckle here and there (most of them, as before, courtesy of Black). But it’s also pretty much as impenetrable as Finnegan’s Wake for those not locked into its hermetic, mushroom-and-brick-filled world.
  26. The Drama
    Though it always feels like Emma and Charlie (and the movie) are one productive conversation away from putting the entire matter to bed, The Drama doesn’t let anyone off the line until the last possible moment. It’s a productively excruciating experience.
  27. A Magnificent Life
    It’s a testament to the beauty of Chomet’s visual style that the picture book images of Paris and Marseille in the mid-20th century are transporting enough to make A Magnificent Life a comfortable sit. But Pagnol deserves better than this limp eulogy.
  28. Kontinental '25
    The secondhand guilt that comes from watching a conscientious woman reckon with her role in an institutional sin is immense and it’s a credit to Jude that he’s so willing to make his audience uncomfortable.
  29. Alpha
    All the aspects of Alpha that work makes the film’s final stretch, which brings together the two timelines in a way that makes a lot more sense symbolically than logistically, that much more unfortunate, but no less of a worthwhile effort from a director who understands that shock and horror can sometimes clear space for understanding and empathy.
  30. Ready or Not 2: Here I Come
    The satirical promise of Ready or Not 2 leads to few comic payoffs—or even much resembling a joke, despite the film’s irreverent tone—and the snippiness between Grace and Faith seems forced after they’ve been taking fire together for so much of the film. Here’s hoping that Ready or Not 3: Olly Olly Oxen Free better meets the moment.
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