TheWrap's Scores

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For 3,672 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0 points lower than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Always Be My Maybe
Lowest review score: 0 Love, Weddings & Other Disasters
Score distribution:
  1. Positive: 2,240 out of 3672
  2. Mixed: 993 out of 3672
  3. Negative: 439 out of 3672
3672 movie reviews
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  1. The Book of Henry
    The really sad thing is that this is a movie with some intriguing characters that has some real comic and dramatic potential, but all this gets lost in increasingly silly plot mechanics.
  2. The Hand of God
    It might be hoped that the passage of time could give him some fond or melancholy distance from such material, but Sorrentino serves up his memories in an unappealingly inert and flat manner.
  3. Indigo Girls: It's Only Life After All
    The most serious flaw of “It’s Only Life After All” is that Bombach has us spend so much time with these women, yet we learn so little about them.
  4. Special Correspondents
    [Gervais] abandons all sharp edges and serves up a bland, toothless picture that isn’t particularly scathing and doesn’t have anything much to say, even though the basic premise might have allowed for some satirical jabs at journalism and politics.
  5. Forever My Girl
    Aficionados of Nicholas Sparks movies may swoon over this film’s distressed T-shirts and kudzu-choked back roads, but lovers of love stories deserve much better.
    • 36 Metascore
    • 40 Critic Score
    The Captive
    The Captive is chock full of sealed rooms, kidnappings and abducted prisoners, but what it can never escape is its director's own shadow.
  7. 4th Man Out
    Despite arriving a decade too late, there’s a version of the small-town coming-out comedy 4th Man Out...that could feel relevant. But first-time director Andrew Nackman’s emotionally shallow, vaguely misogynistic take isn’t it.
  8. Brick Mansions
    The parkour is breathtaking and the plot twists are off-the-charts ridiculous.
  9. A Kid Like Jake
    The writing in A Kid Like Jake feels more like playwriting than like screenwriting because we are told things in dialogue about Jake but barely ever get to see him behaving.
  10. Vengeance
    The scattershot new media satire Vengeance might have been merely a toothless provocation replete with both-sides false equivalences were it not so well-scripted and well-directed on a scene-to-scene basis.
  11. Billy Lynn's Long Halftime Walk
    Billy Lynn’s Long Halftime Walk winds up being a wearying experience, not because of its emotional content but because of its lack of cohesion and its ultimate collapse into gross and unearned sentimentality.
  12. Song to Song
    Song to Song is that most fascinating of busts: it spurs many feelings, but they’re sentiments like real estate envy, Austin yearning (if you’ve ever been), Lubezki admiration, and pity for A-listers who can’t improvise.
  13. Mister America
    It’s absolutely grating to watch. Even worse, there’s not one humorous moment throughout its nearly 90-minute runtime.
  14. Spoiler Alert
    Many of the scenes here seem to have been shot in a spirit of tense desperation; the comedy doesn’t land, the romance takes too long to get going, and the tearjerking scenes are spoiled by a meta framework that makes Showalter’s job even more difficult.
  15. I Origins
    The final third of I Origins helps make up for much of the movie's earlier shortcomings, and while it does have a nice gothic look, it's not nearly as captivating as Cahill intends.
  16. Buffaloed
    The real problem is that no one involved seems to realize that their heroine is, in fact, an antiheroine. Had the movie gone all-in on Peg’s amorality, we might have had a more interesting project.
  17. The Tomorrow War
    While The Tomorrow War isn’t exactly good, it is often promising enough to convince you that at some point, it will reward your time and patience.
  18. Planetarium
    Though its mix of European romanticism, lustrous trappings, and nostalgic movie love can occasionally make Planetarium feel like a galaxy all its own, the effect is more illusory than enveloping.
  19. Let's Be Cops
    With a combination of jokes that don't land and a constant flurry of exposition and plotting to keep these flimsy plates spinning, Let's Be Cops more often than not feels more like a court-ordered defensive-driving class than a rousing high-speed chase.
  20. Reminiscence
    It’s hard to get lost in Cameron’s images or Joy’s workmanlike direction given how often they’re overwhelmed by her flashy dialogue.
  21. Madame Bovary
    Watching Madame Bovary, you find yourself wishing that Barthes had done something, anything with Flaubert’s novel other than slap it up on the screen as yet another tale of woe from long ago.
  22. Borderlands
    All the edges have been sanded down so it can be safe and mainstream, but they went too far and there’s almost nothing left. It’s technically a movie based on 'Borderlands.' Not much else.
  23. The Good Liar
    The Good Liar really wants to be either a thriller or a caper. Unfortunately, it has neither the excitement necessary for the former nor the fun required of the latter.
  24. I Love You, Daddy
    Louis CK’s I Love You, Daddy is queasy fare, not just because its rambling, self-indulgent story has strange and unfortunate associations with real-life allegations, but also for its tone-deaf narrative and offensive sexual politics.
  25. Mudbound
    Its powerful moments are too often swamped by melodrama that undercuts the director’s skills as a storyteller.
  26. Borat Subsequent Moviefilm
    This sequel might (in, one hopes, a happier future) be hilarious in retrospect, but at the moment, it’s a mostly cringe-worthy experience.
  27. 4 Days in France
    It’s as if Reybaud wants to put in every scene and character he has ever thought of in one film, and so his two main characters get lost.
  28. Harriet
    A disappointingly standard biopic, one whose technical flaws and paint-by-numbers clichés threaten to overshadow its subject’s compelling story.
  29. Dragged Across Concrete
    Dragged Across Concrete is not a terrible movie, but it’s not so good that Zahler shouldn’t get dragged for it.
  30. Wicked: For Good
    There hasn’t been a pre-planned 'Part Two' this disappointing since the second half of Andy Muschietti’s 'It.' At least nobody projectile vomits on Jeff Goldblum to the tune of Juice Newton’s 'Angel of the Morning.' Then again, that would have been more memorable.
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