Clarisse Loughrey

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The Independent
For 467 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 0.6 points lower than other critics. (0-100 point scale)

Clarisse Loughrey's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Barbie
Lowest review score: 20 Black Adam
Score distribution:
  1. Positive: 223 out of 467
  2. Mixed: 222 out of 467
  3. Negative: 22 out of 467
467 movie reviews
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    • 61 Metascore
    • 40 Clarisse Loughrey
    Respect
    This project should have been relatively straightforward: to provide a worthy showcase for Hudson, who is tremendous in exactly the kind of way that grabs the attention of awards show voting bodies.
    • 61 Metascore
    • 60 Clarisse Loughrey
    Nuremberg
    While it pleads for us to reckon with the ugliest of truths, it shuts the curtains before its own reckoning is done.
    • 61 Metascore
    • 60 Clarisse Loughrey
    Blue Beetle
    There is something pleasantly nostalgic about the film’s straightforwardness.
    • 61 Metascore
    • 80 Clarisse Loughrey
    Scream VI
    It’s both wholly satisfying and ridiculously fun.
    • 61 Metascore
    • 80 Clarisse Loughrey
    Saltburn
    As a class satire, it reaches no conclusions. But it’s filled to the brim with darkly funny, bile-slicked revulsion.
    • 60 Metascore
    • 40 Clarisse Loughrey
    The Thursday Murder Club
    No matter how enticing the prospect may sound on paper, and even with the efforts of director Chris Columbus (of Home Alone and Mrs Doubtfire fame), the whole affair is so flimsy you’ll lose nothing from watching it on an iPad while cooking dinner.
    • 60 Metascore
    • 60 Clarisse Loughrey
    The Lost City
    Unfortunately, the further away from Tatum and Bullock you get, the more the film struggles.
    • 60 Metascore
    • 40 Clarisse Loughrey
    Doctor Strange in the Multiverse of Madness
    It turns out that the point of the multiverse, and of Doctor Strange in the Multiverse of Madness, isn’t its creative potential. It’s its cameos. A million universes could exist, and they’d all contain surprise appearances by people and things fans can hoot and holler over, before being purchased as toys on the way out of the cinema.
    • 60 Metascore
    • 40 Clarisse Loughrey
    Freakier Friday
    The talent of tomorrow has to play second fiddle to a generation’s inability to let go of the past. And that’s something a quick body swap can’t solve.
    • 91 Metascore
    • 80 Clarisse Loughrey
    Anora
    Madison takes a character trained by life to always pounce – on an opportunity or a threat – and subtly, but consistently, reveals to us her softness and her soul.
    • 60 Metascore
    • 60 Clarisse Loughrey
    See How They Run
    The film’s so plain in its ambitions – in its sense of giddy, well-intentioned fun – that it feels a little pointless to scorn its more superficial choices.
    • 60 Metascore
    • 80 Clarisse Loughrey
    The Many Saints of Newark
    The Many Saints of Newark is both instantly recognisable and somehow unplaceable. It’s fierce and brilliant, too – a work that both expands on and complicates the cultural legacy of The Sopranos.
    • 60 Metascore
    • 80 Clarisse Loughrey
    Scream
    It’s a little metatextual analysis served up with a generous side of guts and gore, stabbing its cake and eating it with gleeful abandon.
    • 60 Metascore
    • 60 Clarisse Loughrey
    Lightyear
    Nostalgia rarely factors into Lightyear, which makes the franchise connection feel almost like a bit of window dressing slapped on to an entirely unrelated sci-fi story. Maybe that’s the only way to get butts in seats these days. Especially to watch what is, at the end of the day, a film that does the job it needs to do but without a crumb of anything more.
    • 60 Metascore
    • 40 Clarisse Loughrey
    Three Thousand Years of Longing
    What’s surprising is that, though Miller’s imagination remains entirely untarnished, Three Thousand Years of Longing stands in defiance of all of Fury Road’s sagest lessons. The film sags where it should speed; it mumbles when it should pronounce; it narrows when it should expand.
    • 60 Metascore
    • 60 Clarisse Loughrey
    Saw X
    Returning director Kevin Greutert knows what’ll satisfy his audience: a few buckets of blood and the gag-inducing sound of crunching bone. Here, they’ll get exactly what they want.
    • 60 Metascore
    • 80 Clarisse Loughrey
    House of Gucci
    Gaga plays the film’s early scenes with a winking, playful innocence, consciously mirroring Patrizia’s story with that of Ally, her character in 2018’s A Star is Born – another ordinary woman plucked from relative obscurity.
    • 60 Metascore
    • 60 Clarisse Loughrey
    Being the Ricardos
    It is, at the very least, far more interested in words than ideas – perhaps the defining feature of Sorkin’s work.
    • 59 Metascore
    • 60 Clarisse Loughrey
    We Live in Time
    All emotions here are predetermined. The point is that we’ve simply been given licence to feel.
    • 59 Metascore
    • 60 Clarisse Loughrey
    Peaky Blinders: The Immortal Man
    What’s worked before works here just as well. Tommy Shelby persists.
    • 59 Metascore
    • 60 Clarisse Loughrey
    No Hard Feelings
    Behind the lazy, shock-tactic humour lies a streak of genuine humanity, something to carry the film beyond mere butts and boobs.
    • 59 Metascore
    • 40 Clarisse Loughrey
    Springsteen: Deliver Me from Nowhere
    Deliver Me from Nowhere’s Springsteen is untouchable and untethered – little more than a bundle of hurt feelings floating aimlessly across the Garden State.
    • 59 Metascore
    • 80 Clarisse Loughrey
    The Drama
    It’s conflicted, messy, ambiguous, and imperfect, but it’s treated with enough of a delicate, scrupulous hand to test the moral waters and not degrade itself in the process.
    • 59 Metascore
    • 40 Clarisse Loughrey
    The Forgiven
    It’s obvious why this cast were attracted to The Forgiven – an actor’s most thrilling challenge is to find the brokenness hidden in between the cruellest of words. Fiennes and Chastain have always excelled in this area, as they do here. But the ugliness quickly wears thin.
    • 59 Metascore
    • 60 Clarisse Loughrey
    Ballerina
    It does, in its DNA, certainly feel like a part of the Wickiverse, even if Reeves’s inevitable cameo feels forced. And while it doesn’t add much depth to the world, it at least gives credence to the amusing suggestion that these films do, in fact, take place in an alternate dimension where every person on the planet is a professional assassin.
    • 59 Metascore
    • 40 Clarisse Loughrey
    The Little Mermaid
    Nice casting can’t cover up the ugly visuals and lack of creative risk.
    • 58 Metascore
    • 80 Clarisse Loughrey
    The Roses
    The pair operate at a low simmer of hysteria that feels farcical without ever losing believability, while treating sincere emotion like the bursting of a dam that threatens to drown them together. They love as they hate in The Roses, decadently and without restraint.
    • 58 Metascore
    • 60 Clarisse Loughrey
    Ready or Not 2: Here I Come
    It’s not a matter of vengeance against the elite but survival. And Weaving bellows and grunts like a wounded creature trying to get the boot off their back.
    • 58 Metascore
    • 40 Clarisse Loughrey
    The Accountant 2
    The bigger crisis at the heart of the film is its inability to justify why we should have come back here in the first place.
    • 69 Metascore
    • 60 Clarisse Loughrey
    One Life
    A great actor shouldn’t only be judged on what they can do with a masterful script, but also on how they can take a lesser work and still let it soar. Anthony Hopkins has achieved this with grace in One Life, a somewhat thin, reductively sentimental retelling of the life of British humanitarian Sir Nicholas Winton, which its star has empowered with raw, much-needed complexity.
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