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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    • 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.
  2. 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.
  3. 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.
  4. 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.
  6. 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.
  7. Nightlight
    Like a flashlight that's running low on juice, you can feel the life oozing out of Nightlight with every faint flicker.
  8. Desierto
    Desierto is one of those movies that's nasty without reason, and never really finds its stride by way of tone or message.
  9. 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.
  10. 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.
  13. 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.
  14. 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.
  16. 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.
  17. 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.
  18. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  25. In Dubious Battle
    Sadly, In Dubious Battle is unlikely to inspire anything other than blank-faced boredom.
  26. 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.
  27. Masterminds
    If you’re laughing at all throughout Masterminds, it’s probably because of Jason Sudeikis.
  28. Incarnate
    Incarnate is just another buried Blumhouse special, and I assure you its neglect is with good reason.
  29. Martyrs
    Martyrs is the exact movie we feared it'd be - a forgettable remake of a far more prolific foreign success story.
  30. 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.
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