TheWrap's Scores

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For 3,671 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 0.2 points higher 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 3671
  2. Mixed: 992 out of 3671
  3. Negative: 439 out of 3671
3671 movie reviews
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  1. Show Dogs
    Families with canines are better off staying home and having an old-fashioned backyard frolic than trotting out to see Show Dogs, a panting, poorly trained entry in the live-action/talking animal genre that for once makes viewers long for the candy-colored, half-witted professionalism of third-tier Pixar-knockoff animation.
  2. The Laundromat
    The Laundromat flails about, with an excess of bad ideas that undercut the justifiable outrage over the events depicted.
  3. Love Is Love Is Love
    The movie is composed of three disparate shorts meant to explore a range of connections. Instead, all three feel as if they were designed inside an echo chamber thematically, and none displays a desire to push the envelope creatively.
  4. Tyler Perry's Boo 2! A Madea Halloween
    Imagine an improv class where students sit in clusters, waiting for something funny to be said or to transpire, and you’ll have an idea of how this haphazard mess plays out.
  5. Sgt. Will Gardner
    Homelessness among military veterans is a noble subject for a filmmaker to take on. So it deserves a better vehicle than Sgt. Will Gardner, writer-director Max Martini’s clumsy and sometimes downright laughable portrayal of an injured Iraq war vet.
  6. Night Hunter
    As Nomis steps up the pace like a runner losing balance and falling forward, the clichés pile up and plot points fly at us more like insecure stabs at holding our interest than naturally edgy developments.
  7. Why Him?
    Why Him? is the kind of movie that makes trendy sophistication and homespun values look equally unattractive; the only remaining alternative is anarchy, an ingredient that’s sadly lacking in this bland, formulaic comedy.
  8. Baywatch
    A summer franchise movie that can’t decide if it wants to be a hard-R bawdy comedy, a d-bag-comes-of-age tale or a fairly unironic reboot of the glossy TV show (which ran from 1989-2001), Baywatch fails at all three, despite the best efforts of the perennially game Johnson and Zac Efron.
  9. Sleepless
    The existence of a movie like Sleepless constitutes definite proof that there aren’t enough good scripts to go around; Foxx, Monaghan, Mulroney and Union (who finally gets introduced into the action in the silliest way possible) deserve much better than this.
  10. Rings
    Horror films that backstory the audience to death lose all hope of mining what’s eerie and unsettling about the unknown, and Rings is a perfect example: it doesn’t so much spread its familiar myth as dilute it.
  11. Pathaan
    Some high-concept set pieces rise above shoddy execution and creative mismanagement, particularly any wire stunts involving helicopters, byplanes, or rocket-powered jet packs.
  12. Rebel in the Rye
    Rebel in the Rye is the most dispiritingly presentational of biopics, on a tight schedule to hit its marks and compartmentalize its subject’s life.
  13. The Cobbler
    When it seems like the movie can’t get worse, it does, with a finale that’s just cringe-inducing and far too neat and tidy. It’s the kind of climax that undoes all of McCarthy and Sandler’s efforts to make us invest in Max and his story.
  14. Me Time
    The whole film feels like filler, an empty space waiting to be padded with plot points, characters and jokes that are so generic it was incredibly easy to transform them into product placement.
  15. Nostalgia
    Hamm, an extraordinarily subtle actor whose quiet craft often gets overlooked, is perfectly cast for the tone Pellington wants to strike, and he’s able to emote convincingly in the narrow elegiac range in which Nostalgia tries to operate.
  16. Firestarter
    The new Firestarter is a lot like the old Firestarter, if the old Firestarter was duller, cheaper, and devoid of almost all meaning.
  17. Downrange
    The inventiveness of the deaths is limited, and the geography of the film’s setting limits what kind of world its characters can create. The film is as barren of uniqueness or anything else compelling as the actual landscape is of foliage.
  18. Psycho Killer
    Sadly, Psycho Killer wasn’t made with style in mind. Actually, it doesn’t seem to have anything on its mind."
  19. Jexi
    Although this wasteful effort from the “Bad Moms” team is uninspired in almost every regard, it does advance cinema in a single way: writers-directors Jon Lucas and Scott Moore have figured out how to modernize one of the most traditional and apparently still essential Hollywood tropes: the Crazy Bitch.
  20. Blackhat
    Blackhat is such a massive fiasco that it’s hard to know where to begin analyzing it.
  21. The Pyramid
    The paucity of new ideas is evident from the opening crawl.
  22. The Choice
    The scenery is nice. Everything and everyone is very clean. Walker and Palmer, as the lovers, work with what little they’ve been given. But none of those elements are of any real consequence. There is no surprise, and there is nothing to care about.
  23. Transformers: The Last Knight
    If you’re here for the director’s trademark chaos editing (where fights go from points A to D to Q), toxic masculinity (and female objectification), comedy scenes rendered tragic (and vice versa), and general full-volume confusion, you’ll get all those things in abundance.
  24. The Space Between Us
    It’s hard not to engage in eye-rolling over what already promises to be one of 2017’s worst movies: The Space Between Us spends so much time piling one daffy, laughable plot beat upon another that it never bothers to nail down the characters.
  25. The Strangers: Chapter 1
    It’s a pat retread of all the violence from the original film, with no emotional investment and no creativity in the mayhem department.
  26. Stonewall
    Stonewall somehow manages to be simultaneously bloated and anemic, overstuffed and underpopulated.
  27. Mute
    It’s legitimately difficult, from scene to scene, to determine what exactly about the increasingly lurid and far-fetched “Mute” made it necessary to be told.
  28. Bright
    There may be no more unexpected (or damning) faint praise for David Ayer’s new movie Bright than this: It made me wish I was watching “Suicide Squad” instead.
  29. Pride and Prejudice and Zombies
    This movie is so crushing mainly because it was made by obviously smart people who are trying to dumb themselves down, and there’s nothing more excruciating than that.
  30. Vice
    Where is the joke here, aside from Bale acting as though he’s in a serious, dramatic movie in which he goes Method by adding on pounds and grunting his way through a half-baked performance? This is neither funny nor insightful.
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