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. Rupture
    Rupture is the kind of ill-conceived film that gives Michael Chiklis the campy role while keeping Peter Stormare on background duty.
  2. 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.
    • 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.
  4. 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.
    • 35 Metascore
    • 50 Critic Score
    Argylle
    Argylle isn't a triumph and it's oceans away from Vaughn's best, but it manages to hold on by a thread to the essence of what makes the filmmaker's work shine.
  6. Morbius
    Morbius is a huge step backwards for Sony's Spider-Man Universe, and the worst Marvel-branded movie to come along in a long time.
  7. The Turning
    The Turning is a failed ghost story on almost every conceivable level with a third act that's flat-out unforgivable.
  8. 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.
  9. The Show
    This Is Your Death is a brilliant concept, but tonal mishandling makes for another media takedown that's all bark and no bite.
  10. The Amityville Murders
    The Amityville Murders wastes historical reverence on a paint-by-numbers ghost story that relies too heavily on eyesore animated effects.
    • 35 Metascore
    • 20 Critic Score
    Kraven the Hunter
    An artistically and emotionally hollow shell of a superhero film, 'Kraven the Hunter' leaves little for Sony to take pride in.
    • 35 Metascore
    • 20 Critic Score
    Rebel Moon Part 2: The Scargiver
    Put the shovel down while you can, Zack Snyder; 'The Scargiver' is a humiliating addition to the sci-fi genre, Netflix, and its viewers' memories.
    • 34 Metascore
    • 30 Critic Score
    Harold and the Purple Crayon
    Immaturely crafted and an insult to children's media, 'Harold and the Purple Crayon' should have gone back to the drawing board, and perhaps stayed there.
  14. 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.
  15. Keeping Up with the Joneses
    Keeping Up With The Jonses plays everything so disappointingly safe.
  16. 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.
  17. Sleepless
    Odar does his best to manipulate Las Vegas’ seedy underbelly (City of Sin, after all), but so much of Sleepless feels like recycled, seen-it-before action genre gristle. The stuff you chew while hoping a little fatty goodness is left.
  18. Thunder Force
    Despite the best efforts of McCarthy, and a winsome Spencer as her sidekick, Thunder Force is more like Shazam! Lite. It wants us to laugh at genre tropes, but this crude and unoriginal dreck is just comedy Kryptonite.
    • 34 Metascore
    • 50 Critic Score
    Red One
    A grandiose action-comedy, with an over-reliance on CGI, and not a crumb of Christmas charm.
  20. 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.
    • 34 Metascore
    • 30 Critic Score
    Imaginary
    Imaginary is decidedly unscary, lamentably messy proof that horrendous scripts dwarf even the brightest premises on the creative food chain.
  22. Uglies
    With a weak script and choppy editing, "Uglies" struggles to bring its dystopian world to life, wasting the potential of its cast and source material.
  23. The Mummy
    This isn’t a new breed of terror, just another neutered reboot churning all the same mainstream gears.
    • 34 Metascore
    • 50 Critic Score
    Love Hurts
    A harmless, unexciting directorial debut that tries to do too much too fast but is thankfully propped up by an always delightful Ke Huy Quan in his first ever leading role.
  25. The Bubble
    Less is almost always more, but the creative freedom afforded by Netflix must have meant that the director, co-writer, and producer didn’t feel obligated to leave much on the cutting room floor. As a result, The Bubble throws everything and the kitchen sink into the mix, but very little of it manages to stick.
    • 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.
  27. Collide
    A cast of reliable performers slum it in this by-the-numbers action thriller.
  28. The Space Between Us
    The Space Between Us is not without bright spots (celestial production design dazzles, Butterfield’s niceties are refreshing in today’s day and age), but it’s ultimately more a slog than serendipitous romance.
  29. Fifty Shades Darker
    Fifty Shades Darker is a befuddling, messy erotic "thriller" that shifts tones faster than audiences can keep up with.
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