Beatrice Loayza

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Polygon, The A.V. Club, The New York Times, The Playlist
For 240 reviews, this critic has graded:
  • 30% higher than the average critic
  • 6% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 4.2 points lower than other critics. (0-100 point scale)

Beatrice Loayza's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Dreams
Lowest review score: 20 Red Notice
Score distribution:
  1. Positive: 106 out of 240
  2. Mixed: 118 out of 240
  3. Negative: 16 out of 240
240 movie reviews
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    • 76 Metascore
    • 60 Beatrice Loayza
    Kneecap
    The film, as a result, feels wildly uneven, though it cruises on the strength of its underdog narrative and its weird, sordid touches.
    • 65 Metascore
    • 50 Beatrice Loayza
    Widow Clicquot
    Ambitious as it is in scope, the film is also somewhat charmless and dour, caught between wanting to deliver the passion audiences expect from a period romance and constructing a suspenseful underdog tale. It’s too bad it never finds a winning balance.
    • 74 Metascore
    • 70 Beatrice Loayza
    Touch
    Touch rekindles a treacly genre that I didn’t realize I missed. Its tender performances and gut-punch reveals are classic tear-jerker ingredients. Add to this a natural, inordinately sensitive approach to intercultural love — mercifully, without a sense of righteousness or obligation.
    • 76 Metascore
    • 70 Beatrice Loayza
    Chronicles of a Wandering Saint
    The superior second half, in which Rita’s reality is upended, eases into a realm of fantasy that is admirable — and more effective — because of its uncanny, inventive minimalism.
    • 76 Metascore
    • 80 Beatrice Loayza
    Music
    Hope was never something that I associated with Schanelec’s typically dour films, yet here, from the darkness of a timeless tragedy emerges light.
    • 73 Metascore
    • 70 Beatrice Loayza
    The Devil's Bath
    The film is grounded in a harrowing historical reality, about the terrifying lengths to which women will go to liberate themselves from destructive domestic conditions. Franz and Fiala bring out this reality’s latent horrors through a series of suspense-building strategies.
    • 75 Metascore
    • 70 Beatrice Loayza
    Solo
    Simon’s drag spectacles may be intentionally fierce and operatic, but there’s something refreshing about this drama’s intimate scale and lack of interest in sweeping tragedies, especially in the context of queer cinema.
    • 64 Metascore
    • 80 Beatrice Loayza
    Coma
    Coma pushes the boundaries of the so-called lockdown movie with its thrilling, chaotic form.
    • 71 Metascore
    • 90 Beatrice Loayza
    A Prince
    That passion could bloom in such spontaneous and unexpected forms is part of this enigmatic film’s potency.
    • 72 Metascore
    • 60 Beatrice Loayza
    Slow
    Grineviciute and Cicenas, however, give depth to a story that becomes stuck on the sorrows of the couple’s discrepancies.
    • 68 Metascore
    • 50 Beatrice Loayza
    Omen
    The film’s frenetic world-building eventually becomes numbing, in part because the uneven human dramas — each one offers a vague message about marginalization — lose momentum in all the commotion.
    • 80 Metascore
    • 100 Beatrice Loayza
    The Beast
    This shamelessly ambitious epic is about, among other things, civilizational collapse and existential retribution, yet it is held together by something delicate.
    • 77 Metascore
    • 70 Beatrice Loayza
    On the Adamant
    That Philibert doesn’t stick to a “main character,” or impose a phony narrative arc, vibes well with the facility’s free-spirited methods, even if the documentary lacks the drama of a more structured production.
    • 69 Metascore
    • 70 Beatrice Loayza
    Femme
    The film avoids a cut-and-dried triumphalism for something more slippery and, perhaps, more meaningful, too.
    • 54 Metascore
    • 60 Beatrice Loayza
    Arthur the King
    Wahlberg and company manage to hold your attention, and not just because there’s a cute dog in the frame.
    • tbd Metascore
    • 30 Beatrice Loayza
    Becoming King
    Becoming King exhibits the kind of self-importance that ultimately diminishes the subject, be it Dr. King or Oyelowo.
    • tbd Metascore
    • 60 Beatrice Loayza
    They Called Him Mostly Harmless
    It’s a film for those who don’t know the outcome, playing upon the viewers’ thirst for answers as it chips away at a clearer portrait of the man.
    • 74 Metascore
    • 70 Beatrice Loayza
    She Is Conann
    It’s more of a fever dream than an actual story, offering a queer counternarrative to the macho vision of the legendary warrior that is as hypnotic as it is gnarly.
    • tbd Metascore
    • 90 Beatrice Loayza
    Mambar Pierrette
    Mbakam hits a remarkable balance. The sociopolitical truths that make up Pierrette’s losing streak are evident, without the miserable patronizing so common in films about struggle in Africa.
    • 65 Metascore
    • 50 Beatrice Loayza
    Driving Madeleine
    It’s a heart-warmer about respecting your elders.
    • 74 Metascore
    • 90 Beatrice Loayza
    The Crime Is Mine
    The Crime is Mine is the epitome of a comfort film, decked out in old-Hollywood nostalgia and unfolding at an auctioneer’s clip. Its fun and games are deceptively smart — all the more because the women know their angles so triumphantly well.
    • 58 Metascore
    • 70 Beatrice Loayza
    Our Son
    A simple yet engaging melodrama.
    • 62 Metascore
    • 70 Beatrice Loayza
    The Sweet East
    Maybe it’s low hanging fruit that the white supremacist character is the best comic fodder, but the film’s trolling is stranger and more esoterically inclined than its selection of political punching bags would seem to warrant.
    • 82 Metascore
    • 80 Beatrice Loayza
    Smoke Sauna Sisterhood
    Hints, whose grandmother introduced her to the smoke-sauna ritual, uses the documentary to speak volumes about what it means to be a woman, even as the focus remains fixed on a single location: a cramped sauna-cabin located in a forest.
    • 74 Metascore
    • 80 Beatrice Loayza
    The Strangler (1970)
    It’s like “Peeping Tom” meets one of Dario Argento’s giallo joints, but slathered in a coat of melancholic malaise.
    • 48 Metascore
    • 40 Beatrice Loayza
    Manodrome
    Crude and sensationalizing, Manodrome is like an amalgam of all the headlines you’ve read about the kinds of men who succumb to warped ideologies.
    • 54 Metascore
    • 50 Beatrice Loayza
    Wingwomen
    The Frenchwomen twist on the supersquad action movie has its charms, but it’s not enough to eclipse the script’s uninspired angles.
    • 80 Metascore
    • 60 Beatrice Loayza
    Four Daughters
    The re-enactments map out the family’s tension and lay bare their wounds, but the lost daughters remain cyphers — the appeal of radicalization frustratingly murky through the end.
    • 73 Metascore
    • 70 Beatrice Loayza
    More Than Ever
    Directed by Emily Atif, this middlebrow drama showcases Krieps’s captivating blend of melancholic fragility and spiky tenacity, riding on the strength of its performers, including the Gaspard Ulliel in his final live-action role before his accidental death in 2022.
    • 60 Metascore
    • 70 Beatrice Loayza
    Saw X
    The traps are disgusting; the plot, so self-serious its absurd (and knowingly so). And unlike the sundry sequels before it (by the third “Saw,” any pretense of ingenuity had been hacked off), this one manages to make you feel something beyond gross-out adrenaline — assuming you have affection for the franchise’s mainstays.
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