Critical Contrast - 2012 Movies

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Can you name the 2012 movies that fit the good and bad critiques given for each?

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Good CritiqueMovieBad Critique
A magnificent science-fiction film, all the more intriguing because it raises questions about the origin of human life and doesn't have the answers. [Chicago Sun-Times]Rips off everything from '2001: A Space Odyssey' to 'Event Horizon'. The film is a shiny, high-tech relic. [Miami Herald]
Not just a reboot - it's a rejuvenation. It pulses with the warm blood of a very human hero. [St. Louis Post-Dispatch]Dumbed down, tarted up, and almost shockingly uninspired, it's the worst superhero movie since 'Green Lantern.' [Boston Globe]
[Movie] is a shot to the arm of pure, silly action-movie fun, and it stars so many heavy hitters it might break your brain to keep up with what's happening onscreen. [TV Guide]Why make a new mediocrity when the old ones are still so much more fun to watch? [Austin Chronicle]
Depp's performance is more than just funny - it's ghoulishly endearing. [Entertainment Weekly]Doesn't know where it wants to dwell: in the eerie, subversive penumbra suggested by its title or in playful, go-for-broke camp. [Washington Post]
Though it's crude and juvenile, [movie] is versatile enough to sneak in a good shot or two at the American political system. [Miami Herald]It feels more like an extended Saturday Night castoff than an actual comedic commentary on American politics. [Austin Chronicle]
It's a gorgeously animated children's entertainment, and an unusually astute exploration of the complex bond between mothers and daughters. [Slate]It's disappointing that the team of writers failed to redefine what it means to be a heroine in big-budget animation. [San Diego Union-Tribune]
Good CritiqueMovieBad Critique
An immensely satisfying taste of antebellum empowerment packaged as spaghetti-Western homage. [Variety]As a picture ostensibly about love, revenge and the ugliness of slavery, [movie] has almost zero subtext and is a largely soulless bloodbath. [The Playlist]
When it's in full stride, the gore and silver bullets are flying and it's a kick. The title sounds like a joke, but the movie is serious fun. [Portland Oregonian]This insipid mashup of history lesson and monster flick takes itself semi-seriously, which is truly deadly. [NY Daily News]
[Movie] doesn't forget it has to be an exciting spy film above all, but from its first scene, it ratchets up the drama in ways that have little to do with action. [The A.V. Club]In this routine effort, we're expected to cheer each chord we've heard many times (here's a martini shaker! Look, it's a Walther PPK! And there's an Aston Martin!) [New York Post]
Easily erases the second installment's vague but unpleasant memory and paves the way for future installments. [Hollywood Reporter]Despite some good moments, Agents J, O and K are missing an E. [Empire]
[Movie] aims to be a fast-paced, workmanlike sequel that shows off its charismatic leading man, and that's exactly what it does. [Arizona Republic]Any breathing room from the hurtling narrative illogic only allows the audience opportunity to notice slips in Mills's father-knows-best infallibility. [Village Voice]
Walt Disney Animation Studios has a high-scoring hit on its hands in this gorgeously executed toon, earning bonus points for backing nostalgia with genuine emotion. [Variety]Nothing but broad, pandering indexes tailored to appeal to the arcade wistfulness the film never even bothers to convincingly evoke. [Slant]

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