Original-Cin's Scores

  • Movies
For 78 reviews, this publication has graded:
  • 71% higher than the average critic
  • 1% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 9.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 73
Lowest review score: 25 The Darkest Minds
Score distribution:
  1. Positive: 57 out of 78
  2. Negative: 4 out of 78
78 movie reviews
  1. It’s extremely watchable, packed with curios and contrasts and narrative twists, filled with the sincere and the ersatz, the stupid and the clever, the grotesque and the goofy.
  2. In spite of all the talent, in the end, the success of a heist movie is in whether you buy the movie’s twists and turns. In this case, it’s an enjoyable ride, but some of the story’s weaknesses make it less than it might have been.
  3. Grindelwald is a movie that seems to want to recreate the Potter universe and does it in the most plodding way, crowding it with characters and plot points, many of which go nowhere.
  4. Boy Erased isn’t the powerhouse that it could have been. But the movie has heart and soul. And, given that Gay Conversion Therapy centers still exist, the story at the core of the film is an important one.
  5. The premise feels so quaint it might as well be framed by Cinderella-like animated bluebirds.
  6. In the end, Hill is inclined to land closer to the heartfelt teen dramas of S.E. Hinton (The Outsiders, Rumblefish) than the docudrama grittiness he affects.
  7. Behind the shell game of motives between the three main characters, there are subtle perceptions about class, youth alienation, and disposable people in contemporary Korea.
  8. Pretentious, which might be defined as a showing an excess of ambition, is a modifier that clings to Luca Guadagnino’s Suspiria — a remake of Dario Argento’s 1977 Day-Glo horror classic — like a wet leotard.
  9. There’s nothing inherently wrong with this greatest-hits patchwork approach or the correct racially diverse, girl-power script from Ashleigh Powell. There’s also nothing new or necessary about this jumbled, pretty mess of a movie, which barely covers the seams between its varied pilferings.
  10. Assembled by first-time French director and Callas devotee Thomas Volf, this adoring clip reel has both pros and cons.
  11. You will not see a more perfect and imperfect rock and roll biopic than Bohemian Rhapsody, which does many things extremely well, other things sort of average, and one thing flawlessly: capturing the immense charisma and panache of Queen singer Freddie Mercury. Jamie Foxx’s full-body inhabitation of Ray Charles just got some competition at the top.
  12. McCarthy’s talent is towering and yet so few roles (excluding SNL appearances which feature dozens) really leverage her versatility. Can You Ever Forgive Me? gives platform to it all — funny but nihilistic, bleak, sardonic, knowing — with McCarthy disappearing and something else rising in her place.
  13. As a first-time filmmaker, Barinholtz is on training wheels, shooting almost entirely in closed-space interior, the better to concentrate on his words. To that extent, The Oath is (at first anyway) a scarily realistic depiction of the argument feedback loop that seems to be ripping society apart. But the denouement allows him to slip away without a realistic premise for how one would leave that loop.
  14. In Sharkwater Extinction, we also get a glimpse of the sanguine approach Stewart brought to coming face-to-face with the extermination of the creatures he loves.
  15. The topical issue of gender indeterminacy is examined, not through the lens of moralizing or academic theory, but from one person’s vulnerable experience.
  16. As with Carpenter, build-up is the thing (Michael is mostly talked-about for the first half-hour), and producers Blumhouse’s trademark jump-scares are a nice stylistic fit.
  17. What distinguishes Knuckleball from other thrillers involving children is the seeming reality of the peril portrayed.
  18. The good in the movie is overwhelmed by its by-the-numbers approach to its story. There’s not enough in Bigger to make a fan out of non-fans of body building, and there’s enough wrong to turn off the real fans.
  19. Only by stepping back is it possible to see how peculiar and relatively original the movie is: A politically radical black youth drama for mainstream consumption; dissonant entertainment for fractious times.
  20. There is absolutely nothing in Goosebumps 2: Haunted Halloween that you haven’t seen before, and seen done far, far better.
  21. In the end the joy of the movie is in watching these four very different characters interact.
  22. Bradley Cooper makes an impressive directing debut with A Star Is Born, turning one of Hollywood’s most remade movies into something fresh and soulful, even though it’s hampered by some of the story’s clichés.
  23. You’ve probably heard punchier dialog at dinner parties.
  24. While this is an autobiographical story about a young aspiring filmmaker and his skateboarding crew, it also speaks volumes about contemporary rust-belt USA, masculinity and abuse, weaving its themes and characters around scenes of the boys sailing through the near-empty streets.
  25. Something of an intriguing curio (the first feature film about a subject treated in song, poem, television and theatre), Lizzie has some memorable pluses and significant minuses.
  26. It’s hard to describe exactly how fun it is to watch the performances and archival footage generously offered in Bad Reputation. Suffice to say rock fans with a bellyful of beer will have a ball.
  27. Colette is ultimately a feminist tale, but never one that wallows in self-pity or seriousness. It is also carried along lightly by a script with a streak of wit.
  28. Considering the (pardon the expression) glacial pace of much of the lead-up, Hold the Dark’s eruption into massacre-level violence is jarring. Once it takes hold, it is relentless and grueling.
  29. It’s hard to imagine anyone who enjoyed Radner’s performances in their lifetime not finding much to love about Love, Gilda… even as our hearts break a little at what might have been had she lived longer.
  30. Assassination Nation may be empty calories as social satire, but it’s a dark, wry, of-the-moment story of run-amok panic that will entertain horror fans.

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