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. Halston
    Halston is at its most naturally energetic when highlighting career triumphs. It’s packed with archival footage remembering past glamour, and moving contemporary interviews with models like Pat Cleveland, whose own ascendance in the fashion world as one of the first African American models to make a name for herself, went hand in hand with Halston’s paradigm shift.
  2. It Must Be Heaven
    An easy-going film that coolly ambles forward as a series of short sketches and vignettes, while maintaining a fairly detached tone.
  3. Lux Æterna
    Is it enjoyable to watch? Hell no – there’s a reason why everybody on the screen is either screaming or crying for it to stop. But you have to hand it to Noe, because it is kind of mesmerizing in its perverse single-mindedness, and the fact that “Lux Aeterna” is only 50 minutes long makes it more endurable.
  4. Mektoub, My Love: Intermezzo
    Toxically indulgent ... Add up nothing but the shots of jiggling butts and you’ll have an hour’s worth of footage.
  5. After Maria
    After Maria is an affective, personal film that humanizes a persistent national tragedy.
  6. Echo In the Canyon
    Even if Echo in the Canyon feels slightly anemic at 85 minutes or so, there are worse ways to revisit this epochal artistic moment than via Andrew Slater’s affectionate, intimate documentary.
  7. Matthias & Maxime
    Sharp and warm ... It reaffirms a distinctive cinematic voice who might be going back to his greatest hits, but has brought something new to them.
  8. Frankie
    The film studiously avoids melodrama or theatrics of any sort, enfolding instead as a kind of melancholic tone poem.
  9. Parasite
    Bong delivers a stunning return to form with this newest venture, which takes bold leaps between tenors and tone, but holds together beautifully thanks to the director’s unparalleled visual/spatial sophistication, and his unsparing social indictment.
  10. The Secret Life of Pets 2
    Effectively acts as an animated ode to heteronormativity, toxic masculinity and patriarchal worldviews, passed off as harmless plot points to entertain young audiences.
  11. Marianne & Leonard: Words of Love
    As befits its subjects, Marianne & Leonard is as much poetry as documentary — it’s a gentle, rhapsodic film, an emotional change of pace for its director and a moving portrait of a love that still resonates.
  12. Pain and Glory
    The film is one of the most meditative of Almodóvar’s career. ... It makes for less energetic and, yes, less exciting filmmaking. But “Pain and Glory” is a beautiful meditation on past and present, a memory piece that will nourish rather than provoke.
  13. Family Romance, LLC
    A curious little meditation on the extent to which humans will go to make connections, and on the commodification of everything up to and including love, it is a fascinating film that will never be confused with one of Herzog’s major works. But it nonetheless has moments of subtle and quintessentially Herzogian rhapsody.
  14. A Hidden Life
    A Hidden Life is certainly the director’s best movie since his 2011 Palme d’Or winner “The Tree of Life” — it’s his most monumental film since then, and perhaps his most sentimental film ever. And it is also slow and meditative, requiring viewers to sink into and surrender to that particular Malick style that some find maddening.
  15. The Whistlers
    The Whistlers is no minimalist slice of realism, but an oversized, deliciously twisted ride that runs on an endless supply of black humor and a sizeable body count. You won’t laugh much while you’re watching it, but it’s a hoot nonetheless.
  16. Once Upon a Time ... in Hollywood
    Once Upon a Time … in Hollywood is big, brash, ridiculous, too long, and in the end, invigorating.
  17. Aladdin
    The original Aladdin was an innovative motion picture, heralding a new era of CG-assisted animation and celebrity stunt-casting. It was bold and exciting. The remake rehashes the original in a pleasing but perfunctory way.
  18. Brightburn
    While we can perhaps be grateful that the superficiality of Brightburn probably kept it from opting to exploit elements of disturbed-kid narratives that have been all too common in our more tragic news stories, what remains is still never terribly entertaining as either popcorn or a bent take on superhero myths.
  19. Diamantino
    This picture feels fated to be remembered as the “giant fluffy puppy soccer movie,” and both the giant fluffy puppies and Cotta provide enough laughs to make it worthwhile.
  20. The Tomorrow Man
    Quirky, tender and hopeful, “The Tomorrow Man” doesn’t necessarily depict a romance or relationship that everyone will immediately relate to, but Jones’ kindness and generosity as a storyteller encourages his audience to treat these characters empathetically.
  21. Les Misérables
    Ly rather cleverly inoculates his film to charges of repetition by outright owning them. Of course, you’ve seen stories like before. The film freely admits, these exact same stories, these preventable tragedies and pointless injustices have been manifesting themselves for hundreds of years.
  22. Woodstock: Three Days that Defined a Generation
    Given that we already have a documentary that captures the event so successfully from inside the era, it’s curious that the filmmakers don’t try to mine a perspective beyond nostalgia
  23. Portrait of a Lady on Fire
    Visually ravishing ... [A] piercingly intelligent treatise on art, agency and queer love in the 18th century.
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