The Film Stage's Scores

  • Movies
For 1,256 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 4 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 American Honey
Lowest review score: 0 Southbound
Score distribution:
1256 movie reviews
  1. Spider-Verse feels fresh precisely because it breathes new life into an old story without abandoning the basics.
  2. It’s always frustrating when a documentary is so intent on one story that it plainly misses a more interesting one that’s, just… right there.
  3. Maybe The Mercy‘s greatest strength is that pragmatism to fuel its eleventh-hour chastisement of anyone blind to Hallworth’s complicity.
  4. Though the satire Huang employs here is charming, it conflicts sharply with the atmosphere of hopeless melancholy. In juggling the two, Huang never quite manages to do justice to either tone. As a result, the film can feel a bit messy and occasionally frustrating.
  5. So we’re left with a problematic façade that can’t avoid tainting the thought-provoking crime mystery unfolding beneath it.
  6. The Cleaners ably raises questions around the issue without following through on tying them together, often seeming like it’s simply bouncing around to cover all the relevant topics until it’s time to wrap up. That’s a letdown, but it gives us some noteworthy moments along its way.
  7. Overlord is a pure hell fest, unabashed in its fashioning of tattered grindhouse attire and yet never cheeky in its delivery.
  8. Farrelly is telling a heart-warming, comical buddy story first and foremost, and Green Book, for better or worse, feels more like a wholehearted familial embrace than a treatise on the state of race in America today.
  9. Chronicling Bland’s own Facebook activism along with an examination of the mysterious circumstances of her death, the film is part legal procedural, police mystery, and an exploration of the kind of racism that led to her arrest in the first place.
  10. It’s sad that Fantastic Beasts pulls off what I assumed was impossible: It turned an imaginative fantasy world into dreary wallpaper.
  11. Of Fathers and Sons is a vital addition to the cultural picture of the Syrian conflict.
  12. For forty minutes we become intimately aware of Oliver’s sci-fi conceit through heightened emotions, visual puzzles, and potential betrayals. It’s the perfect set-up for a thriller built on exclusion and yet it becomes much more.
  13. At a time when Islam has become weaponized as a synonym for ISIS, we need glimpses at its positivity and humanity. That doesn’t mean Mu’min sanitizes things (a lot happens that could reinforce reductive stereotypes of social conservatism and familial oppression), only that she’s creating healthy representations at once relatable, laudable, and flawed. Nothing is black and white.
  14. It’s a shame because McDermott effectively toes the line between dorky and menacing (before the film explains which is real), Plummer is great playing with a loaded deck of anxieties and insecurities, and Beaty performs her role perfectly until the writing abandons what made her necessary.
  15. Cam
    Mazzei expertly creates this sense of contrasting arguments through the mystery she’s crafted, letting its terror metaphorically represent the struggle sex workers combat psychologically thanks to America’s prudish nature forcing them to lead dual lives.
  16. Letting the “monsters” dispatch each other lets our “heroes” retain their fear and expendability — they can die when you least expect it because they aren’t our only means towards victory. This universal animosity keeps things interesting so the battles can be short and sweet without any monologues extending the opportunity for table turning.
  17. Despite overstaying its welcome through one absurd action sequence after another, it knows exactly what it is: an action movie your uncle would have liked after receiving on VHS from Columbia House. It’s just skillful enough to keep one engaged as we witness otherwise dull archetypes escape one tense situation after another.
  18. Bullitt County almost becomes two separate entities in the process, one half comedic romp and the other a bloody depiction of human nature left festering. The second part is vastly more interesting and yet it’s not given enough room to breath considering we already spent forty-five minutes languishing in false exposition.
  19. By letting the cast improvise their reactions through the lens of their experiences, Esparza finds truth instead. By highlighting Bleechington and Williams’ performances, he exposes how injustice is the new “normal” and how the consequences of one’s misfortunate reverberate well beyond him/herself.
  20. An off-kilter, at times hilarious film that nevertheless loses some of its impact as it stumbles through its own delirium.
  21. Before its close, The Night Comes For Us stages a brutalizing and exhausting final fight for the ages.
  22. On Her Shoulders is an essential documentary about an inspiring young woman and allies that still have a lot more work to accomplish.
  23. As disturbing as the film can be, at the end of the day one doesn’t really take much away from it.
  24. Evans lets his freak flag billow gloriously in the cinematic wind; leaning into the perverse nature of his work, he fixates on tension and dread to craft a compelling journey enveloped in lunacy.
  25. It can’t be overstated the simple pleasures of something that’s genuine but never cringe-inducing, and light but never sugary.
  26. Sadie is a grim and moving character study grounded by exceptional performances.
  27. It’s a cliché to praise a film by saying that an actor “is having fun” on screen, but Hardy having fun with a weirdly bland character and his absurd, sassy alter ego goes a long way to giving Venom a reason to exist.
    • 63 Metascore
    • 91 Critic Score
    Her Smell goes beyond the expected trappings of your usual rock drama and successfully manages to capture the convulsive core of musical artistry while suggesting, in a major departure for the usually cynical Alex Ross Perry, that it’s possible for the individual to break free of its corrosive bonds.
  28. Loving Pablo had the opportunity of making Virginia Vallejo its star. It should have pushed Escobar to the background so Bardem could shine as a villain-in-waiting instead being gifted the spotlight.
  29. It all combines for an enjoyable if slight adventure.

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