TheWrap's Scores

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For 3,670 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: 2,239 out of 3670
  2. Mixed: 992 out of 3670
  3. Negative: 439 out of 3670
3670 movie reviews
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  1. Churchill
    There’s a glimmer of a better movie in Richardson’s and Cox’s scenes, which suggest a thorny marriage that barely survived its low points, but it’s inevitably undercut by Teplitsky’s fondness for slo-mo memorializing, music overuse, and a simplistic pace that wants to brush away all the negativity with a well-timed come-to-Jesus moment, and a rousing radio speech.
  2. Long Strange Trip
    You don’t have to be a Deadhead, or even a casual listener, to find in Long Strange Trip a compelling tale of what happens when iconoclasts become icons.
  3. Joshua: Teenager vs. Superpower
    This is a film of highs and lows; there is no middle ground, no moment of silence, reflection or introspection. “Joshua” stays frustratingly on message.
  4. 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.
  5. War Machine
    What’s most dispiriting about War Machine is that you can sense the satire it wants to be — and could have been — but never becomes.
  6. Pirates of the Caribbean: Dead Men Tell No Tales
    The fifth entry, Pirates of the Caribbean: Dead Men Tell No Tales, is the most divertingly enjoyable since the first. A professionally crafted brew of action, slapstick and supernatural mumbo-jumbo, it’s less likely to spur timepiece glances than did the last few bloated installments.
  7. Burden
    A respectful, reserved, and charming documentary.
  8. Paint It Black
    Shawkat breaks out subtleties that she’s never been able to show off in other roles.
  9. The Woman Who Left
    Diaz has made an epic-length small film about the powerless, one full of moral urgency that he chooses to elongate and slow down to a crawl. It’s a quiet consideration of grief and mercy, of control taken and freely given up.
    • 52 Metascore
    • 58 Critic Score
    Everything, Everything
    The lead actors are attractive and charismatic and give nuanced performances. Unfortunately, the dialogue they are given to speak is often trite and too many plot strands are unconvincing.
  11. Diary of a Wimpy Kid: The Long Haul
    Unconscionably overlong while offensively appealing to the lowest common denominator of filmgoers, this film would appear to lack a single reason to exist.
  12. Katie Says Goodbye
    Which version of the film each viewer sees will be a subjective choice, of course, but the fact that the lead character is so utterly guileless and innocent and kindhearted...makes Katie less a victim of the world and more a victim of first time writer-director Wayne Roberts.
  13. Lowriders
    Mexican-American culture isn’t merely draped over the story as an added element but woven throughout with a casual practicality that respects both the primary characters and their shot-on-location East L.A. setting.
  14. Paris Can Wait
    The minimal character development will frustrate filmgoers seeking substance, as will Coppola’s stilted dialogue.
  15. The Wall
    Despite this noble intention to create palpable tension — and dialogue — between two strangers, Dwain Worrell’s script repeatedly falls short.
  16. Snatched
    What we’ve gotten in Snatched is an uninspired, scattershot disaster romp that mostly serves the talents of one half of the marquee pairing, underuses the other half, and struggles to blend R-rated humor, foreign misadventure, and oil-and-water mother-daughter dynamic into a cohesive diversion.
  17. King Arthur: Legend of the Sword
    There are quick cuts and CG imagery and bro-ing out in nearly equal proportions; I found some of this excess to be heady and exciting, but by the end of the film’s running time, it all became a bit tiresome, to say nothing of tiring.
  18. Alien: Covenant
    On a gutbucket genre-film level, Alien Covenant delivers when it delivers. As with so many of its monster-movie peers, however, there’s just not much to it when the creature isn’t preening for its close-up.
  19. 3 Generations
    It’s a film that positively reeks of good intentions, but it’s so timid and tentative — the words “trans” and “transgender” are never uttered aloud — that it feels as hopelessly retro as casting a cisgender actress in the lead.
  20. Risk
    In the fraught relationship between controlling subject and probing filmmaker who start out as comrades in activism, the tension should be explored, not glided over. It leaves “Risk” feeling like the outline for a dozen different documentaries, instead of a complete one itself.
  21. The Pirates of Somalia
    Dabka winningly traces the ways that a callow American gets schooled in concepts like honor and sacrifice until he is considered an expert on a country and a people that he grows to love.
  22. Chuck
    Chuck takes a small subject and turns it into a basic redemption story, and as such it has some merit. Not much, but just enough.
  23. Aardvark
    Aardvark is the sort of movie that gets by with its unpredictable where-is-this-going vibe for about a half-hour or so.... But it becomes apparent at a certain point that the set-up is pretty much all there is to this movie.
  24. Flower
    There are some movies that are misguided in a simple way, and then there are those rare unrelentingly awful movies like Flower that decide to go wrong in as many ways as possible in as short a time as possible.
  25. The Trip to Spain
    What Coogan and Brydon are doing in these films is an acquired taste, but if they want to continue on doing them then they’re going to need to cut down and edit their interminable actor impressions.
  26. The Lovers
    This film is a real pleasure and surprise because it sees old emotions as things that can be replenished and renewed if you are open and not too rigid about the boundaries of your relationships with others.
  27. How to Be a Latin Lover
    Derbez brings warmth and intermittent goofy humor to this too-broad and uneven comedy.
  28. Slack Bay
    Unhinged and witty, Slack Bay is one of those rare movies that looks like it was fun to make, and is even more fun to watch.
  29. One Week and a Day
    One Week and a Day succeeds in recreating that precise feeling, as hard to articulate as it is commonly felt, where exhaustion wears down any line between emotions.
  30. Sleight
    Sleight is slight in the good way, because it floats along and draws your attention instead of yanking it by the collar.
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