TheWrap's Scores

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For 3,675 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 0.1 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: 2,242 out of 3675
  2. Mixed: 994 out of 3675
  3. Negative: 439 out of 3675
3675 movie reviews
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  1. Out of Blue
    At its best, Out of Blue captures a slightly intoxicated “eureka” sensation, as the whole detective genre transforms elegantly into a philosophical awakening, and as the greatest threat comes not from a murderer but from our protagonist’s sense of self (or lack thereof). At its worst, which is most of the time, it’s a conventional detective story that resorts to lengthy scientific-namedropping when it probably should be getting on with it instead.
  2. What Men Want
    What Men Want” obviously doesn’t reinvent the wheel, and its biggest laughs are in the trailers, but it is a fun romp that manages to also confront a real-world issue.
  3. Den of Thieves
    Ultimately, Den of Thieves falls short of its goal, but it gets points for aiming high; there are worse things than trying to be the next Michael Mann when few others would dare try, especially if they lack the enthusiasm oozing out of every frame of your imitation.
  4. Krampus
    Though not exactly a punishment, director Michael Dougherty’s tongue-in-cheek monster movie is hardly a celebration, either, despite initial promise that we’d be getting a niftier-than-usual package of subversive comedy and chills to shake up the usual holiday-movie sameness.
  5. The Gray Man
    Each gun- or fist-fight features a few cool individual images, but these standalone elements never exceed the Russos’ blurry presentation. That’s especially deadly in an action movie that’s constantly trying to give viewers the impression of speed and scope.
  6. Jane Got a Gun
    Jane Got a Gun takes long pauses in the action to chronicle through flashbacks how this love triangle comes to defend a single home. The film’s greatest surprise is that these unabashedly emotional flashbacks work.
  7. Bohemian Rhapsody
    As an inducement to dig into the Queen back catalog, Bohemian Rhapsody is an unqualified success. But when it tries to be a genuine biopic of a groundbreaking band and its singular lead singer, it’s more like a little silhouette-o of a man.
  8. Millers in Marriage
    This void of a movie has plenty of the right pieces to work with at hand, but continually arranges them in the most blunt, least interesting manner possible. It’s a film that bolds, underlines and then shouts at you what it’s about, though never authentically earns your emotional investment.
  9. Mary Shelley
    The film undercuts its admiration of Mary Wollstonecraft Shelley by judging, harshly, her life choices and reducing her timeless masterpiece to simplistic metaphor for a lousy marriage. Mary Shelley deserves better than Mary Shelley.
  10. Mack & Rita
    Mack & Rita is silly, but it’s a strong, necessary kind of silly, a warm and embracing kind of silly. Keaton has rarely been so bubbling and bright, reminding us that regardless of age, being true to yourself is all that really counts in a person. The love will come no matter what.
  11. Bullet Train
    All Bullet Train had to be was high-gloss, all-star, late-summer nonsense, but instead it gives high-gloss, all-star, late-summer nonsense a bad name.
  12. Y2K
    Even at just over 90 minutes, it quickly runs out of steam and can only coast along.
  13. Daniela Forever
    Daniela Forever is afraid to ever dream big, leaving nothing more than a banal nightmare.
    • 49 Metascore
    • 30 Critic Score
    Amsterdam
    Russell’s brand of Sturges-inspired madcappery has always been a high-wire act of energy and tone, but Amsterdam doesn’t even feel like an “I Heart Huckabees” or “Joy” misfire. It’s sloppy and disconnected, crammed with thinly drawn characters play-acting ‘30s screwball as Russell’s unmoored camera and jarring editing force the issue instead of capturing something genuine which, even with a game cast, clearly wasn’t there to begin with.
  15. Downhill
    Anyone who sees this new movie without having watched the original will certainly enjoy the lead performances, but they’ll be getting the frozen-watered-down version of the story.
  16. Words and Pictures
    Words and Pictures never accrues enough emotional resources to bear out the darker, heavier moments, which turns its big dramatic moves into clunky embarrassments.
  17. The Catcher Was a Spy
    Berg’s life is a natural for the movies, but it’s difficult to imagine how the film we got out of it turned out so dramatically inert.
  18. Little
    Little is a funny, surprisingly heartfelt film, embedded in traditional themes and amplified by the talented Martin, who reminds us that she and other youth like her aren’t just adorable — they’ve got boss mentalities that cannot and should not be ignored.
  19. Spirit Untamed
    Spirit Untamed has vivid moments of beauty, but loses its gallop with a facetious storyline about identity as it keeps trying to define itself as an “empowering” film for little girls, missing the mark on both fronts.
  20. Insidious: The Last Key
    Hardcore horror audiences won’t find much that’s frightening in Insidious: The Last Key — there’s not even that wonderfully unsettling shriek of violins under the title this time — but as a delivery system for more great work from Lin Shaye, it more than accomplishes its mission.
  21. Reminders of Him
    It’s a whole lot of pretty good and not a lot of amazing, but hey, remember how Tyriq Withers also starred in Him? No one can say they got the title wrong.
  22. How to Make a Killing
    How to Make a Killing has the acuity to know that even if you are willing to play such a rigged game in ruthless fashion, you’ll still lose. The film’s magic trick is taking this bleak idea and knowing how to find the fun in such brutal sport.
  23. The Promise
    There’s simply no time for the impact of anything that happens to get its reflective due, because the movie is too busy reverting to the up-and-down status of Michael’s and Ana’s increasingly inconsequential relationship while lining up its next large-scale set piece.
  24. Despicable Me 3
    Even parents who found the earlier outings reasonably tolerable may find themselves making excuses to linger longer at the concession stand.
  25. The Chaperone
    The Chaperone is case of a not-so-good movie made by people who are unquestionably talented.
  26. Godmothered
    For the most part, Godmothered is a mixed-bag of clever comedy and banal kid-movie clichés, but director Sharon Maguire (“Bridget Jones’ Baby”) and writers Kari Granlund (2019’s “Lady and the Tramp”) and Melissa Stack (“The Other Woman”) craft an ending that’s so emotionally and intellectually satisfying that it’s easy to forgive the film’s less magical attributes.
  27. Resident Evil: The Final Chapter
    For the first time, the story supports and adds to the action rather than distract from it; it’s almost as though Anderson was holding back in the earlier films because he wanted to save the best for last.
  28. Venom: Let There Be Carnage
    Venom: Let There Be Carnage is a bold and brisk superhero story, unlike any other mainstream Hollywood film in the genre. It crams a heck of a lot of movie into an hour and a half, but it doesn’t feel like it needed to be longer. It just feels like we need more movies like it.
  29. The Best of Enemies
    The Best of Enemies tries to remind us that simple solutions might exist if we could open our minds, but it undercuts itself by shortchanging its black female lead and ending on a very maudlin note that lacks punch.
  30. CodeGirl
    Silicon Valley is built on various inequalities, and, frustratingly, CodeGirl isn’t interested enough in delving into those issues — or the girls determined to overcome them.
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