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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    • 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.
  2. 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.
  5. The Circle
    A half-baked thriller with a strong cast and a few good ideas, The Circle lacks originality, immediacy, or basic coherence.
  6. Wish Upon
    Wish Upon is a Final Destination redux that pulls too many punches.
  7. The Frontier
    The Frontier is a stale film from another era, with an unfortunate story that's about as frail as a tumbleweed.
  8. 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.
  11. 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.
  12. 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.
  14. 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.
  16. 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.
  18. 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.
  19. 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.
  20. Lemon
    Bravo’s abundance of inexplicable details makes for an interesting conundrum at first, but mystery soon fades.
  21. 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.
  22. Infinite
    Paramount+ has finally released its first major in-house exclusive movie, but it's an understatement to say that Infinite could be better.
  23. 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.”
  24. 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.
  25. Dumbo
    Coupled with an uninvited human story at its forefront, Burton’s chilling style makes Dumbo nearly unrecognizable.
  26. 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.
  27. 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.
  28. 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.
  29. 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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