TheWrap's Scores

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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
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  1. Dora and the Lost City of Gold
    The biggest challenge of an actor in any live-action update of an animated character is to make an audience that is already loyal to the original fall in love with a newer rendition. And that’s exactly what Moner does; her Dora has the DNA of everything that made the original so special while offering a fresh take for newer generations experiencing the character for the first time.
  2. Don't Let Go
    Despite its trappings, Relive is a family drama with a slight supernatural twist, and had Estes explored that, perhaps the film would feel more whole. Instead, Relive winds up being a thriller without any actual thrills.
  3. The Mountain
    Once Alverson has ensured that his subtext has been absorbed, he seems uncertain about where to go next.
  4. The Great Hack
    As eye-opening and propulsive as the movie is, Amer and Noujaim don’t always keep the thread of their multi-faceted narrative, which was going to be a daunting task for any well-meaning filmmaker trying to give you arresting personalities while parsing complex aspects of the digital world.
  5. Ray & Liz
    What Ray & Liz offers is the opposite of exploitive or vengeful enumeration of parental failure. Billingham finds grace for his ruined family, even if he refuses to save them, and it feels like an act of forgiveness.
  6. The Farewell
    The cultural subtleties Wang inserts purposefully elevate The Farewell to have not only emotional impact but also revelatory social significance.
  7. The Amazing Johnathan Documentary
    Out-pranking the prankster, [Berman] turns a documentary about an unpredictable subject into a meditation on what it means to make a documentary about an unpredictable subject.
  8. A Faithful Man
    In description, A Faithful Man sounds like quite a rich brew, but it is actually more of an exercise than anything else, a chance to play a kind of cinematic shell game with four main characters who are never quite what they seem.
  9. Crawl
    The single-minded simplicity of its plotting can at times be an asset rather than a hindrance; in a summer even more bogged down by needless sequels and remakes than most, Crawl is, at the very least, a lean thriller that isn’t based on an existing property.
  10. Stuber
    With a title that’s almost as lazy as its script, Stuber is a lackadaisical attempt at a “woke” buddy-cop comedy that just can’t figure out how to fuse together its story with the message it is trying to promote.
  11. Sword of Trust
    As with all of Shelton’s improv-inspired movies, the plot offers plenty of interest but the personalities provide the purpose.
  12. The Lion King
    The contrast between the impossible events happening on-screen and the hyper-realism of the imagery doesn’t always work in the the movie’s favor.
  13. Armstrong
    There is intriguing subtext buried within Armstrong about who we designate as our heroes at a time of great divide, but Fairhead succeeds at paying tribute to a man who, were he still alive today, probably would have balked at this kind of memorial.
  14. Promare
    Think of Promare as a vast feast with too many flavorful offerings to taste in one seating, and where all the intricate details of how everything was put where it is are less important than the overall sensory overload you’ll experience.
  15. For Sama
    The footage, as personal as it is horrific, is often hard to watch.
  16. Maiden
    Holmes does an incredible job writing and directing this already action-packed narrative into an impressive documentary. He carefully weaves the crew’s interviews tightly together so that it seems like they’re almost talking among themselves, instead of in separate one-on-one interviews.
  17. Spider-Man: Far from Home
    If anything, and this is a compliment, the film frequently feels like a charming teen road-trip comedy that occasionally turns into a superhero movie.
  18. The Chambermaid
    Measured in its pacing but never stagnant, The Chambermaid quietly fleshes out Eve’s subconscious with actions rather than words.
  19. Straight Up
    Lighthearted in tone yet intellectually intriguing, the L.A.-set film ponders valid queries about identity, even if they’re almost entirely sustained by dialogue.
  20. Annabelle Comes Home
    When it comes down to it, you can’t have a strong horror movie without a strong villain. Given that Chucky is currently working overtime to torment an entire community, surely Annabelle can do more than offer up a couple of creepy grins before calling it a day.
  21. Anna
    Besson’s film feels like a relic by most modern standards: It’s a formulaic thriller from a director who invented this very specific formula, and just about all it’s good for is introducing audiences to Sasha Luss, who carries the film with elegant strength and unleashes a satisfying fury whenever she’s allowed to destroy or humiliate her oppressors.
  22. Child's Play
    The movie’s biggest strength is its balance between mordant humor and psychological fear.
  23. The Quiet One
    There’s no thrill, no visceral heartbreak, no fist-pumping revelation. This is just a guy telling you about himself, growing up, growing old, and navigating the Stones’ massive celebrity.
  24. Midsommar
    None of its core characters, including the female protagonist (played by Florence Pugh, “Fighting With My Family”), make any rational decisions (while being too distant to care about anyway).
  25. The Edge of Democracy
    In laying out the facts, Costa is, for the most part, posing a series of sad questions rather than supplying the answers; in truth, she may not know whether she’s documenting a stormy political era or chronicling the end of something.
  26. The Spy Behind Home Plate
    The film doesn’t take an extra step towards cinematic showiness, nor does it glamorize or sensationalize Berg’s life. It’s just a nice time talking about World War II and baseball, sharing stories and retelling old jokes. It’s a respectable ode to Berg’s unusual, remarkable life.
  27. Toni Morrison: The Pieces I Am
    Though Toni Morrison: The Pieces that I Am comes from a white storyteller, it distinctly and profoundly reflects the point of view of the subject herself. What we see is a woman who has always been in charge of her own narrative, no matter who wants to share it.
  28. Our Time
    One of the year’s most thought-provoking and spellbinding releases, Our Time is calibrated for patience and observation with ideas as concrete as such an ambiguous storyteller like Reygadas can offer.
  29. Wild Rose
    Ultimately, of course, it’s Buckley who makes Rose-Lynn soar off the screen. It’s a dazzling, raw, intoxicating performance, and when she sings, it’s simply electric.
  30. Plus One
    The movie’s real showcase gold lies in the magnetic appeal of screwball comedy natural Erskine (Hulu’s “PEN15”); she’s a major talent who rightly runs away with the movie, conjuring in the viewer’s head a constellation of wishful star turns to come.
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