We Got This Covered's Scores

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For 976 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Guardians of the Galaxy
Lowest review score: 20 The Bye Bye Man
Score distribution:
  1. Positive: 504 out of 976
  2. Mixed: 408 out of 976
  3. Negative: 64 out of 976
976 movie reviews
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per page
    • 42 Metascore
    • 50 Critic Score
    Opus
    Armed with a glistening beating heart but too stubborn to open itself up, Opus falls into the very trap that it warns against.
  2. I Am Michael
    James Franco is a stand-out in I Am Michael, but the film's specific story struggles to relate on a broader scale.
  3. Justice League
    Justice League is a sloppy team-up film that doesn't even take time to properly introduce pivotal members of its titular team, but when you're playing a dangerous (also ill-advised) game of catch up, these are the risks.
  4. I Am the Pretty Thing That Lives in the House
    A few images sear with the burning sensation of undead terror, but that only accounts for a few short minutes of an otherwise more-daunting-than-it-should-be cinematic exploration of death.
  5. Heart of Stone
    Without a shadow of a doubt, it’s very much a costly, star-studded, explosive attempt to build a brand new IP from the ground up that the company can call its own, but it’s impossible to shake the feeling that we’ve walked down this exact road many times before. Make of it what you will, but the end product is exactly what you think it’s going to be, for better or worse.
  6. Jungle Cruise
    Dwayne Johnson and Emily Blunt elevate Jungle Cruise, but you've seen this movie before, and you've seen it done a lot better.
  7. Terminator: Dark Fate
    Terminator: Dark Fate is a good Terminator franchise entry by comparison, but still falls into many of the pitfalls that modern reboots/remakes/sequels struggle to sidestep when balancing nostalgia with hyper-CGI action.
  8. Saban's Power Rangers
    Power Rangers doesn't completely fail as an origin story, but it's too familiar with its new-age reboot mentality that repurposes instead of recreates.
  9. Landline
    [Robespierre] and Slate make a formidable, interesting pair together and I do look forward to their next venture, but Landline is a disappointing venture.
  10. Dangerous Waters
    Dangerous Waters' starts off as one thing, but barrels directly into an absurdly entertaining third act when it decides to throw the shackles off and become something else entirely.
    • 35 Metascore
    • 40 Critic Score
    The Unbreakable Boy
    The Unbreakable Boy will satisfy the terminally vanilla moviegoers, but the rest will see right through its game.
  12. The Yellow Birds
    For a film that has such an intriguing premise at its core, The Yellow Birds seems to drag due to Moor’s abrupt tempo changes and flat visual style.
  13. Bad Behaviour
    Fragmented, incoherent, and disjointed in the worst way, ‘Bad Behavior’ allows Jennifer Connelly and Ben Whitshaw a narrow escape. Writer and director Alice Englert wastes some world class talent, in a story which never really hangs together.
  14. Collide
    A cast of reliable performers slum it in this by-the-numbers action thriller.
  15. A Million Little Pieces
    While its well-founded intentions and creative intuitions are palpable, not even a tortuously acrobatic performance from Aaron Taylor-Johnson saves A Million Little Pieces from consistently sober storytelling.
  16. Transformers: The Last Knight
    Bay's latest Transformer title is a daunting behemoth of a film and you can feel every ounce of dead weight, as sins of the past are committed without any signs of stopping.
  17. The Strangers: Chapter 1
    The Strangers: Chapter 1 just feels like an overstretched introduction.
  18. Death Wish
    Quite simply, it’s impossible to “enjoy” a film that makes you feel even worse about the society we live in – especially when it’s so gobsmackingly unaware itself.
  19. The Discovery
    The Discovery has a fantastic premise but lacks the ambition. imagination or intellect to explore it satisfyingly. Instead, we're left with a gloomy, thinly written emotional drama.
  20. Expend4bles
    The Expendables is far from high art, but it’s safe to say the saga has never hit a lower point than it has here, a crushing disappointment for anyone genuinely hoping for the return to form that was promised and demanded.
    • 47 Metascore
    • 40 Critic Score
    Salem's Lot
    The breathtaking visuals and bloody scares are not enough to bring this adaptation back from the dead.
    • 42 Metascore
    • 40 Critic Score
    Captain America: Brave New World
    A committed Anthony Mackie and a game Harrison Ford deserve better than this sadly superficial excuse for a 'Captain America' film whose troubled production is written all over its face.
  23. Trolls
    Based on the popular toy line, Trolls bears all the earmarks of a blatant cash-in on a recognizable property, with little imagination to speak of and predictable creative choices from beginning to end.
  24. A Dog's Purpose
    A Dog's Purpose goes the Collateral Beauty route by preying on sadness and not earning its emotional reactions.
  25. Hellraiser: Judgment
    Hellraiser: Judgment is a stuffy police procedural masquerading as a torturous Pinhead franchise entry.
  26. Last Girl Standing
    Plainly put, Last Girl Standing explores a unique horror convention from a fresh angle, but can’t execute when it counts.
  27. Me Time
    Me Time has plenty of talent and a potentially interesting hook, but it's quickly drowned in a sea of comic mediocrity.
    • 50 Metascore
    • 40 Critic Score
    Blonde
    Ultimately, Blonde falls short of the noble goals it sets out for itself. What we get instead is a stunning, surreal nightmare that fails to let Marilyn Monroe be a complicated, full person. Even if it’s packaged well, what you’ll find at the heart of Blonde is something acrid and hollow.
  29. Angel Has Fallen
    Angel Has Fallen is a galumphing installment to a galumphing action franchise. With a hero who's been beaten to a pulp, the next one could very well be called "Gerard Butler Has Fallen: Natural Causes."
  30. Inside
    This year's Inside remake swaps Bustillo and Maury's brutalization levels for beyond-generic thrills that are more frustrating than fierce - whatever that's worth.
  31. Smurfs: The Lost Village
    Despite its stunning backdrops and inspired new designs, Smurfs: The Lost Village is a smurfing waste of time.
  32. 31
    There’s not a single character worth caring about, and even less artistic licence to appreciate. This is a dirty, depraved love-letter to horror that’s written in a bunch of different colored crayons to mask such simple words with distracting colors.
  33. The Boss Baby
    The Boss Baby is a movie made for few audiences, inconceivably inept in its ability to blend adult references with children's immaturity.
  34. Capone
    Tom Hardy does it all as Capone: growling, drooling, snot, yelling, snotty yelling. If his performance was in service of a better picture, we might even be talking about him during Oscar season.
    • 26 Metascore
    • 40 Critic Score
    Borderlands
    One of the best video game movies ever is buried far, far, far beneath this foul, foul, foul thing.
    • 53 Metascore
    • 40 Critic Score
    Aladdin
    Guy Ritchie fails to mesh his own style with that of the hand-drawn classic, resulting in an Aladdin remake that's an exquisite corpse of CGI nonsense.
  37. Rampage
    Rampage is noticeably in trouble once it becomes obvious that the giant virtual gorilla is the most human presence onscreen, and that doesn’t take too long.
  38. Blumhouse's Truth or Dare
    Truth or Dare lacks the conviction to do anything remotely interesting with its premise, instead falling back on one tired horror cliche after the next.
  39. Inferno
    Inferno feels every bit like the second sequel in an exhausted franchise, stunted by unfocused storytelling and a blandness that's almost sleep-inducing.
  40. The First Purge
    The First Purge doubles-down on bloody opposition against true-to-life societal fears, but abandons the subtlety needed to prevent Gerard McMurray’s prequel from becoming anything more than hateful retribution.
    • 73 Metascore
    • 40 Critic Score
    One Of Them Days
    The buck unfortunately stops at the inspired casting, reducing 'One of Them Days' to another destiny method comedy that might find viewers, but not an audience.
  42. Wolf Man
    Despite some innovative ideas about language and body horror, Whannell's 'Wolf Man' is a disappointing follow-up to 'The Invisible Man,' struggling with uneven effects, choppy editing, and underdeveloped themes.
  43. Leatherface
    Leatherface is an origin story that attempts to carve new mythos for one of horror's mightiest legends, but ends up leaning on franchise references and bleakness to an unnecessary fault.
  44. Cam2Cam
    It’s not that Soisson created a terrible movie, but Cam2Cam is late to the party, brings absolutely nothing notable, and sits in the corner without making a peep.
    • 46 Metascore
    • 40 Critic Score
    The Watchers
    The excitement with which one can anticipate Ishana's next directorial effort, is matched only by the dread of anticipating her next screenwriting effort.
  46. The Dressmaker
    Despite Winslet's stunning cowgirl fashionista, The Dressmaker is a whole lot of weirdness packed into a story that stumbles around like an emotionally-inept drunk.
  47. Nightlight
    Like a flashlight that's running low on juice, you can feel the life oozing out of Nightlight with every faint flicker.
  48. Desierto
    Desierto is one of those movies that's nasty without reason, and never really finds its stride by way of tone or message.
  49. The Assignment
    Rodriguez’s transformation is hackneyed and ham-fisted, Hill’s action lacks excitement, unnecessary comic-book panel swipes add “character” – there’s nothing noteworthy about this hunt for retribution.
  50. Storks
    Storks is momentarily funny when it’s not boorishly and exhaustively begging for your attention.
    • 28 Metascore
    • 40 Critic Score
    Survivor
    Relentlessly dumb yet royally entertaining, Survivor sometimes approaches the realm of being “so bad it’s good.”
    • 42 Metascore
    • 40 Critic Score
    Unfrosted
    Jerry Seinfeld's directorial debut is a family-friendly, overstuffed, unoriginal comedy film where the weakness of its central plot is masked by myriad celebrity cameos, including 15 different stand-up comics, characters all but doing backflips on screen and a lot of product placement.
  53. Samaritan
    Samaritan had the potential to stand out among a crowded pack with Sylvester Stallone as a veteran superhero drawn out of retirement, but it doesn't bring anything new or noteworthy to the table.
  54. Detroit
    Detroit is, for lack of a better term, a pornographic echo chamber of resentment. Trying to put out a fire with ten more tankers full of gasoline.
    • 36 Metascore
    • 40 Critic Score
    Space Jam: A New Legacy
    The concept is ripe for biting satire at how super-serving content can often by detrimental to art and creativity, but instead Space Jam: A New Legacy is a briefly and all-too-infrequently enjoyable hybrid of sports comedy and family drama that doubles as egregious product placement on the largest possible scale.
  56. Amityville: The Awakening
    Franck Khalfoun’s often-rethought Amityville: The Awakening is sleepover background noise at its best, traceable genre road-mapping at its worst.
  57. Fantastic Beasts: The Crimes of Grindelwald
    Fantastic Beasts: The Crimes of Grindelwald is two-plus overstuffed hours worth of too many characters fighting for screen time that no enchantment can salvage.
  58. Bushwick
    Murnion and Milott’s Bushwick feels like a John Carpenter film without the societal skewering. A nasty, hate-filled movie with shaky detailing.
    • 52 Metascore
    • 40 Critic Score
    Little Boxes
    Despite its occasional smart commentary, the film offers a limited, one-note response to modern day racism.
  60. Valerian and the City of a Thousand Planets
    Valerian And The City Of A Thousand Planets is a fantasy adventure that’s nowhere near as adventurous or fantastical as it should be.
  61. Venom
    Despite a commendably committed performance from Tom Hardy (whether it's a good or bad one will still need further evaluation), Venom's a big, stinking gooey mess of a film.
  62. Sugar Mountain
    While there are moments to enjoy in Sugar Mountain, they simply don’t come often enough and by the end, you’ll find yourself struggling to care what happens to any of the characters here.
  63. Spectral
    Despite some impressive visuals and a few good supporting actors, Netflix's Spectral fails to leave an impact.
    • 73 Metascore
    • 40 Critic Score
    Air
    Vapid and meaningless, the consumer-friendly 'Air' tells a revolutionary story in the blandest, slickest way possible.
  65. In Dubious Battle
    Sadly, In Dubious Battle is unlikely to inspire anything other than blank-faced boredom.
  66. Significant Other
    Significant Other is a substandard supernatural hybrid, which wastes the talent of all those involved. Maika Monroe and Jake Lacy may work hard to breathe life into this ponderous fireside fable, but often fall short through no fault of their own.
  67. Masterminds
    If you’re laughing at all throughout Masterminds, it’s probably because of Jason Sudeikis.
  68. Incarnate
    Incarnate is just another buried Blumhouse special, and I assure you its neglect is with good reason.
  69. Martyrs
    Martyrs is the exact movie we feared it'd be - a forgettable remake of a far more prolific foreign success story.
  70. King Arthur: Legend of the Sword
    Excitement is fleeting, dialogue rambles and Jude Law’s tyrant-approved throne slouch pretty much sums the film’s overall attitude – a hearty “meh,” worthy of no diamond-studded crown.
    • 65 Metascore
    • 40 Critic Score
    A United Kingdom
    A United Kingdom is well-intentioned, with impassioned performances from Oyelowo and Pike, but it's executed as drily and inoffensively as so many middling Brit period dramas.
  72. Collateral Beauty
    Collateral Beauty is a Hallmark tear-jerker in the worst way, so out of tune with human emotion that it almost becomes satire.
    • 56 Metascore
    • 40 Critic Score
    Hocus Pocus 2
    The Sanderson sisters are devoted to their act but their campy return to Salem is far from bewitching as it tries to find its way amidst a listless plot and the repeated detours down nostalgia lane.
    • 54 Metascore
    • 40 Critic Score
    The Lord of the Rings: The War of the Rohirrim
    Well-equipped to succeed but ill-prepared to do so, 'The Lord of the Rings: The War of the Rohirrim' drowns its potential in a far too hesitant narrative.
  75. The Circle
    A half-baked thriller with a strong cast and a few good ideas, The Circle lacks originality, immediacy, or basic coherence.
  76. Wish Upon
    Wish Upon is a Final Destination redux that pulls too many punches.
  77. The Frontier
    The Frontier is a stale film from another era, with an unfortunate story that's about as frail as a tumbleweed.
  78. Rupture
    Rupture is the kind of ill-conceived film that gives Michael Chiklis the campy role while keeping Peter Stormare on background duty.
    • 78 Metascore
    • 40 Critic Score
    The People's Joker
    Its abstract foundation is incredibly fertile creative ground, but 'The People's Joker's nuclear, self-indulgent execution is the downfall to its buzzworthy rise.
    • 63 Metascore
    • 40 Critic Score
    Knock at the Cabin
    Only M. Night Shyamalan could make an apocalypse film that has audiences rooting for the end of the world, if only to bring the running time of 'Knock at the Cabin' to a merciful end.
  81. Unsane
    Never does Soderbergh’s projection strike me as B-movieness or popcorn entertainment. His mix of arthouse iPhone Hollywood and downplayed character accentuation (by way of misrepresented screen shrinkage) makes for a thriller that fails to spike excitement via a villain who’s always right where he has to be.
  82. Abattoir
    Abattoir feels like it should still have an "Under Construction" sign warning viewers of the unfinished business to come.
    • 44 Metascore
    • 40 Critic Score
    Ricky Stanicky
    You can almost hear the desperate screams of a far funnier, far more profound script in the shallowness of the 'Ricky Stanicky' we got, even if John Cena's efforts to drown them out aren't entirely fruitless.
  84. Hellboy
    Hellboy feels editorially chopped to bits, tonally disjointed and created from clashing perspectives that make for the type of "dark, gritty" reboot that misunderstands why certain "dark, gritty" reboots end up working.
    • 33 Metascore
    • 40 Critic Score
    Five Nights at Freddy's
    Five Nights at Freddy's fails at being scary. The premise and setting should've made it an obvious horror win, but some baffling story choices and poor execution makes it feel like a missed opportunity.
  86. Dark Phoenix
    Dark Phoenix takes arguably the most heavily thematic X-Men comic arc and delivers the most dully procedural, chopped-to-bits cinematic franchise entry in Fox’s mutant canon.
    • 53 Metascore
    • 40 Critic Score
    Hypnotic
    You can only chip away at reality so far until everything in 'Hypnotic' starts to feel sketched and feckless. Any type of resolution reads as either disingenuous or completely unearned, as viewers were never invested in the characters' emotional journeys in the first place.
  88. The Man from Toronto
    Hart is capable of better, and Harrelson deserves better, so we can only hope the duo had fun during shooting, because there isn’t a great deal else to recommend outside of the pair’s best attempts at trying to wring some modicum of entertainment value from the scraps they’ve been given to feed on.
  89. Ghost in the Shell
    Ghost In The Shell is exactly the high-fi cyber shooter you feared it’d be, drenched in digital paranoia and concerns of network privacy. Visual fancies overload the senses early and often, only to hope the kaleidoscope artistry lingers long enough to overcompensate for back-end dullness.
  90. Lemon
    Bravo’s abundance of inexplicable details makes for an interesting conundrum at first, but mystery soon fades.
  91. Meg 2: The Trench
    Ben Wheatley's blockbuster debut reduces him to an anonymous bystander in a sequel that's inexplicably weaker than its predecessor. If we get 'Meg 3,' then somebody needs to remember these things are supposed to be fun.
  92. Infinite
    Paramount+ has finally released its first major in-house exclusive movie, but it's an understatement to say that Infinite could be better.
  93. The Happytime Murders
    Frankly, it’s heartbreaking to see the Henson name tossed about a project that’s so heartless and so gruesome that the only thing I imagine sticking from it is Phil’s “Silly String.”
  94. Night Teeth
    Night Teeth is a disappointing vampire thriller that's all style and no substance, leaving plenty of interesting world-building and unique mythology behind in favor of a formulaic story audiences will see coming from a mile away.
  95. Dumbo
    Coupled with an uninvited human story at its forefront, Burton’s chilling style makes Dumbo nearly unrecognizable.
  96. Blumhouse's Fantasy Island
    From start to finish, Fantasy Island is lacking wicked wonderment and poignant reboot vocality. You'd be best off skipping it.
  97. The Dark Tower
    Director Nikolaj Arcel blends dystopian weirdness and temporal hellbeasts until all that remains is an emulsified, grey gunk, which is then forced down our throats for 95 minutes. Flavor gone, identifiers eviscerated.
  98. Motherless Brooklyn
    Edward Norton mines political relevance in some areas of noir-drenched New York and completely ignores it in others. As a result, Motherless Brooklyn becomes Chinatown’s outshined, ugly stepbrother.
  99. Resident Evil: Welcome to Raccoon City
    Add on another star, or perhaps even two, if you're a fan of the games, but Resident Evil: Welcome to Raccoon City will struggle to win over those who aren't familiar with the franchise.
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