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. I'm Your Woman
    It’s an exciting ride, but with a wallop of genuine feeling underneath that makes it one of this year’s best films.
  2. Halftime
    The ultimate meaning of Lopez’s life and career is still up in the air, a status suggested by the title Halftime. At one point here Lopez frankly discusses the various personas she has tried on, one of which she refers to as “Don’t write me off.” And we shouldn’t.
  3. Perfect Strangers (Perfectos Desconocidos)
    Caro’s ability to localize what might feel broad shines through, even though he is operating within set storytelling boundaries.
  4. California Schemin'
    Director McAvoy is skilled at honing in on the details, never wavering in his ambition to tell a small tale about friendship, its pitfalls, and the lies that result in hurting others.
  5. Banana Split
    Marks and Liberato are a delight, equally appealing on their own and total #FriendshipGoals together. The two are close in real life and the strength of their chemistry is, ultimately, what makes the movie so special.
  6. Gaga: Five Foot Two
    Gaga is indeed sort of a mess in this movie, yet her grandmother’s emotional pragmatism is in there somewhere, too.
  7. Diane von Furstenberg: Woman in Charge
    It’s Diane von Fürstenberg’s life and I’m not even sure the rest of us get to live in it. We’re just allowed to peek through the window and be dazzled.
  8. Your Monster
    Unabashedly silly, yet effectively sincere, it is a film that grows on you.
  9. Knock at the Cabin
    It’s a film with violence but no edge, just a disturbing idea which plays out to a grim and unsatisfying conclusion, unexplored and uninteresting.
  10. Kiss of the Spider Woman
    Lopez, while certainly dancing all the right steps, is only ever a composite of a movie star who feels trapped in a surprisingly stiff production. She deserves better than what the film gives her, but there’s never a moment when she gets it.
  11. The Disappearance of Eleanor Rigby: Him
    The thing that catastrophically sinks “Him” – or “Her,” if that's the film you see second – is that the two films are enough alike that sitting through the second immediately after the first is a slog.
  12. Tallulah
    What saves Tallulah from American indie sameness and its allegiance to neat resolution are its three lead actors and Heder’s apparent skill in bringing out their best work.
  13. Damsel
    Damsel is viciously whimsical, if such a thing is possible, and it’s thrillingly subversive. But the punchline comes early, and it’s only repeated as the film progresses.
  14. Master Gardener
    In the end, Master Gardener is ripe with seeds of ideas on the verge of blossoming into something beguiling, maybe even generously healing. What a way for Schrader to close the loop on his long line of tortured men.
  15. Falling
    Falling is a finely drawn character drama, as you might expect from much of Mortensen’s acting career, and a film that pays attention to small details that bring these people to life.
  16. Unsane
    Whether shot on an iPhone or just screened on one, Unsane effortlessly flexes Soderbergh’s skill as a storyteller and a technician, injecting the atmosphere and mechanics of a creepy scenario with a substance that deepens and elevates it to the stuff of a harrowing, intimate reality.
    • 63 Metascore
    • 47 Critic Score
    Fingernails
    The movie only scratches the surface, bringing together the sexually potent Buckley, White and Ahmed but unable, or perhaps unwilling, to capture the passion of which they’re capable.
  18. Villains
    It’s fun to watch clever people think their way out of impossible situations. What Berk and Olsen do in Villains is make it wildly entertaining to watch not-so-clever people try to do the same things.
  19. The Cat and the Moon
    It’s easy to fault the egos of actors who want to write and direct themselves, but if they don’t make the most of the star attraction — their own performance strengths — what’s the point?
  20. Let Him Go
    Let Him Go is a tense genre piece that finds room to build out its characters, and their flaws, between bursts of action and suspense; it’s a tricky combination, but Bezucha manages the balance with real skill.
  21. Batkid Begins
    The editing is ruthlessly efficient, and some of the talking-heads scenes are dramatized via lively comic-book renditions that lend visual panache. All the characters grab you, not just the kid.
  22. All Saints
    The film’s major saving grace is how it seeks to be inclusive in its depiction of Christianity. Through a collective endeavor, a sense of community and faith is reinforced.
  23. Maria
    In a movie that is stately on the surface and stormy underneath, Jolie’s drawn, almost architectural features and air of enforced restraint is ideal for Larraín’s vision of Callas. She’s a glorious, luminous wreck, looking for peace but drawn inexorably to a world of grand artifice.
  24. Hello, My Name Is Doris
    Field uses her considerable powers as an actress to imbue some humanity into Doris, but the film kneecaps her efforts at every turn.
  25. Bring Them Down
    You can practically see the more complicated layers of the two men through the eyes of the performers alone, but they’re both left staring at a story that almost stubbornly refuses to excavate them.
  26. Split
    It’s made with campfire-spooky care rather than an abiding need to impress you with his gifts.
  27. Normal
    As long as Odenkirk’s grumpy sheriff has his coffee and mustache intact, he is the key to finding the perfect balance. No matter how many blows the film and he take, the joy in seeing him swing freely makes it all good, family fun.
  28. Mayor Pete
    It’s an enjoyable ride with intermittently compelling moments, particularly when Buttigieg struggles to find the balance between innate personality, intellectual morality, and professional practicality. But the film simply doesn’t dig deep enough.
  29. Alpha
    Alpha comes close to greatness, specifically that rare kind of greatness that we reserve for timeless epics, or at least gorgeous Frank Frazetta illustrations. The story and protagonist aren’t quite rich enough to take it to the next level.
  30. We Have Always Lived in the Castle
    The performances are buttressed by a production that subtly underscores the intentions of both the characters and the plot, from the costumes by Eimer Ni Mhaoldomhnaigh (“Love & Friendship”) to the score from Andrew Hewitt (“The Stanford Prison Experiment”), which coax the film along to where it’s going without ever being too obvious about it.
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