TheWrap's Scores

  • Movies
  • TV
Select another publication »
For 3,665 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: 2,235 out of 3665
  2. Mixed: 991 out of 3665
  3. Negative: 439 out of 3665
3665 movie reviews
view
per page
    • 59 Metascore
    • 50 Critic Score
    The Silent Twins
    It’s undoubted that the Gibbons twins were both original thinkers who were victimized by a system that did not recognize them as autonomous people, but it’s unfortunate that The Silent Twins is keen to do the same, reducing them to vehicles for aesthetic flexing and moral lecturing, rather than, as they themselves would have requested, simply letting them be.
  2. From the Hood to the Holler
    It’s not just one film, or one election, or one win — it’s a movement, as the energized subjects keep repeating. “Justice is not a destination, it’s a journey,” is one of the many resonant quotes shared by one of Booker’s advisors and friends, and it’s a reminder that the fight is never-ending.
  3. Goodnight Mommy
    So much of the film’s brutality has been removed in favor of melodrama and CGI fake-outs that it doesn’t matter that the cast is bringing their A-game. The game has already been called due to lack of interest.
  4. Ticket to Paradise
    The film’s director and co-writer, Ol Parker, is so committed to light, feel-good escapism that he leaves out all of the requisite tension and twists — and, for that matter, the requisite jokes.
  5. The Greatest Beer Run Ever
    The early scenes are at times surprisingly awkward – and while things get better when Chickie gets to Vietnam and Russell Crowe shows up to (briefly) ground the movie with his quiet gravity, “Beer Run” still lurches from silliness to preachiness in a way that’s rarely satisfying.
  6. No Bears
    If Panahi makes us understand Jafar, he also recognizes the rippling effect of his choices. Such is the dense and intricate layering of this deceptively simple film, which has a no-budget aesthetic and a novelistic sprawl.
  7. Confess, Fletch
    An average scene in Confess, Fletch features several different kinds of humor, including callbacks, running jokes, physical comedy, and character-driven wordplay, all of which either flatter the individual actors or show off how well they work with their co-stars.
  8. The Good Nurse
    If The Good Nurse is about anything, it’s about dedication and stoic compassion, rather than a headstrong sense of morality, and the film, like its protagonist, is all the better for that.
  9. The Inspection
    The director hits no false notes. He knows firsthand the feelings each scene should convey, but he also has the skills to render them accurately.
  10. Saint Omer
    In her narrative debut, Diop has found a way to mix her hard-hitting documentary style with fiction to raise a mirror to society. This new arena, with its wider reach, makes Diop an exciting filmmaker to watch.
    • 76 Metascore
    • 75 Critic Score
    The Woman King
    The Woman King possesses broad appeal. It’s an oft-told tale, yes, but here imparted with a fresh angle and a meaningful moral. And it has something in store for those who prefer the action genre, too.
  12. Glass Onion: A Knives Out Mystery
    Johnson freely bounces around buzzwords like “disruptors” and “influencers” with dripping mockery, but he stops way short of satire. He never entices us to take an active interest in this new cast of characters, and there isn’t much suspense or high stakes to speak of even when things start to head south.
  13. My Policeman
    The 1990s framing device keeps pulling us out of the 1950s love story, sapping its power.
  14. All the Beauty and the Bloodshed
    All the Beauty and the Bloodshed remains, at heart, a simple and intimate profile of a woman who sees art and activism as one and the same.
  15. The Fabelmans
    It feels a little too light and even occasionally uncertain in the early going, but picks up steam, becomes deeper and more moving and absolutely nails the ending.
  16. Catherine Called Birdy
    Catherine Called Birdy only shows that dropping Dunham’s sensibility down into the Middle Ages results in a viewpoint that is suffocatingly small and unenlightening.
  17. A Compassionate Spy
    It’s worth being reminded by James’s layered, grippingly told account of a principled betrayal that when it comes to the biggest threats facing the globe, sometimes one person in the right circumstance can make a difference.
  18. Love Life
    The scale in which Fukada works — as both writer and director — is so deliberately intimate that immense experiences feel microcosmic, while tiny moments make a huge impact.
  19. Medieval
    Medieval struggles as a work of historical fiction, but when the action mounts, it’s immersive and exciting.
  20. True Things
    Harry Wootliff’s True Things is a raw and passionate look at the type of love that can be both all-encompassing and destructive, passionate and dangerous.
  21. Weird: The Al Yankovic Story
    Does it have moments of hilarity? Sure does. Does it run out of steam at times? Hell, yes. Is Appel a workmanlike director who mostly stays out of the way and lets his cast deliver the laughs? Yep, though he does try to get fancy a few times, with mixed results.
  22. Brahmastra Part One: Shiva
    Neither the action scenes nor the musical numbers stand out though, and none of the characters or their performers transcend their expected roles.
  23. About Fate
    If you set out to combine the worst parts of Hallmark holiday movies with the worst parts of frenetic ‘90s rom-coms, you’d probably wind up with something a lot like About Fate. The women are nuts, the men are clueless and the production is so cheap you could pass the time spotting every mistake no one bothered to fix.
  24. Hold Me Tight
    Thankfully, Hold Me Tight, with Amalric’s alert, empathetic stewardship and Krieps’ gripping portrayal, sets aside the banality of grief’s burden for something more alive and elusive, but no less affecting.
  25. Private Desert
    Nothing about the interactions between Daniel and his former pen pal in the second half of the movie are even remotely believable, and so the rosy climax of Private Desert enters the dangerous realm of fantasy and wish-fulfillment, revealing that the makers of this film are as recklessly naïve and morally questionable as their protagonists.
  26. Blonde
    Once more, the filmmaker’s level of formal control is exemplary and precise, and his lead actress game for whatever comes her way. Only one can’t shake the feeling that all of it runs against the film’s ostensible message, that is another case of Monroe’s agency taken from her.
  27. Dead for A Dollar
    Dead for a Dollar is a proud heir to a longstanding lineage of low-budget westerns. Consider that a feature and a bug.
  28. Clerks III
    Clerks III is serious to a minor fault and breezy to a minor fault. It’s got all the same laid-back, chill vibes cinema that Smith is well-known for, and the same immature approach to genuine maturity that he’s also known for, with a new sense of emotional severity that makes it harder to laugh than it probably should be.
  29. Pinocchio
    Zemeckis and co-writer Chris Weitz do make some attempt to dust off the concept, but the modernized moments further undermine their efforts. When they add empathy, the story loses its soul. And when they jam in easy updates, it just highlights how out of touch the rest of the script feels.
  30. The Son
    Where “The Father” was subtle and twisty, this drama is more agitated and restless, even melodramatic at times – but that’s a directorial decision that certainly fits the dark and troubling subject that the film explores but doesn’t exploit.
Page:

Top Trailers

See all »
See all trailers »