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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  1. Zack Snyder's Justice League
    Zack Snyder’s Justice League is excessive and overlong to the point that trimming anywhere up to an hour would have elevated it significantly, but it’s still a triumph of circumstance, style and execution.
  2. SiREN
    SiREN never takes Bruckner's original idea and runs with it, failing to capitalize on a demonic romance that so many V/H/S fans demanded to see more of.
    • 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.
  4. Bad Boys: Ride or Die
    Bad Boys: Ride or Die leans heavily on nostalgia and fan service. While Smith and Lawrence's chemistry remains, the film's predictable plot and over-reliance on past glories make it a forgettable experience for all but diehard fans.
  5. House of Darkness
    House of Darkness leaves audiences with much to consider as the credits roll and blood red titles draw a discreet veil over this contemporary Gothic offering.
    • 54 Metascore
    • 30 Critic Score
    Strays
    An average, predictable script is rescued from being truly irredeemable by an excellent cast of voice actors and a few bright jokes.
  7. 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.
  8. 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.
  9. Bandit
    In hindsight, irrespective of the solid performances from Cuthbert as Andrea and the headliner, this film suffers from an overabundance of ideas. Leading in short order to a stylistically slick but confusingly over-packed genre mash up.
    • 54 Metascore
    • 70 Critic Score
    Orphan: First Kill
    Plenty of blood splatter brutality throughout Orphan: First Kill will satisfy gore hounds looking for their next fix. Bell, who previously directed the similarly themed The Boy and grizzly werewolf film Wer, proves to be a deft hand at creating tension without resorting to cheap jump scares.
    • 54 Metascore
    • 60 Critic Score
    Cocaine Bear
    Cocaine Bear almost runs its premise into the ground, but delivers some outrageous rampage sequences and laughs along the way.
  12. The Magnificent Seven
    The film is mindless entertainment by way of scoundrels, dynamite and honor – not quite magnificent, but “The Watchable Seven” just doesn’t have the same ring to it.
    • 54 Metascore
    • 80 Critic Score
    The Hunger Games: The Ballad of Songbirds and Snakes
    Despite uneven pacing and inconsistent acting, The Hunger Games: The Ballad of Songbirds & Snakes is a triumphant prequel and the most impressive depiction of Panem representative of a director firing on all cylinders.
  14. 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.
  15. The Dead Don't Die
    The Dead Don't Die is a procedurally bland zomcom with little genre personality, playing as if Jarmusch invents a subgenre horror fans haven't been watching for decades.
  16. Adopt a Highway
    Adopt A Highway seems as confused as its lead character, wandering around and never quite figuring out what story it wants to tell.
  17. A Wrinkle in Time
    Trying to juggle complex theories of metaphysics and cosmology with simple themes of self-acceptance and the deterioration of the “darkness,” A Wrinkle in Time comes off as a disjointed and miscalculated project, rather than a visual and contemplative journey.
    • 53 Metascore
    • 70 Critic Score
    The Beekeeper
    By ordinary metrics, it leaves everything to be desired. But, 'The Beekeeper' understands that better than anyone, and occupies the 'Fast & Furious'-esque niche of action filmmaking in a way that's arguably genuinely brilliant.
    • 53 Metascore
    • 80 Critic Score
    It Ends with Us
    Anchored by a mighty Blake Lively, It Ends with Us brings Colleen Hoover's story to smartly cinematic and tremendously touching life.
  20. Prisoners of the Ghostland
    Prisoners of the Ghostland isn't going to be for everyone, but if you're on board with one of the craziest movies you'll see this year, then strap in and prepare for Nicolas Cage at his most unhinged.
  21. Beverly Hills Cop: Axel F
    Beverly Hills Cop: Axel F struggles to balance nostalgia and reinvention, with Eddie Murphy's charm unable to save it from a muddled script.
  22. Once Upon a Deadpool
    Once Upon A Deadpool supports the worthiest of causes, but "PG-13 Deadpool 2" is a much duller, hacked-up sequel than this year's *already inflated* R-rated release.
    • 53 Metascore
    • 80 Critic Score
    Inside
    Though it's no easy task to connect and absorb everything it throws at you, Inside is a captivating thematic feast anchored by the ever-masterful Willem Dafoe.
  24. Star Wars: Episode IX - The Rise of Skywalker
    Star Wars: The Rise Of Skywalker suffers the misfortune of having a director who cares more about digging up a franchise's past than moving forward with an original story.
  25. Unfriended: Dark Web
    Unfriended: Dark Web takes all the most engaging and horrifying techno-horror qualities from Unfriended and wipes the cache disappointingly clean.
  26. Annabelle Comes Home
    Annabelle Comes Home is crowd-pleasing horror entertainment that’s both fun and eerily frightening.
    • 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.
  28. Emancipation
    Unfortunately, Smith’s would-be comeback vehicle is hamstrung by a weak script, paper-thin characters, and gets caught too often being overly earnest rather than emotionally honest, something that ultimately taints the integrity of the endeavor and will leave audiences disappointed.
  29. Ma
    Ma is a showcase for Octavia Spencer's ability to turn her typecasted traits into utterly disturbing obsession destabilization, but the film's less potent genre punch never lives up to its main character's psychotic allure.
  30. We Have a Ghost
    We Have a Ghost shows plenty of ambition as writer and director Christopher Landon broadens his horizons, but it never feels anything more than a series of disparate parts failing to come together as a satisfying whole.
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