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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    • 76 Metascore
    • 80 Clarisse Loughrey
    Talk to Me
    This is a low-budget horror helmed by a young pair of mavericks. It’s anchored around a phenomenal central turn by Wilde, who’s all twitchy eyelids and haunted relatability. Its practical effects are effective, rendering it dead in bloated, blotchy, dripping flesh. And when the spirits reveal more demonic, subversive desires, the tricks they play on the living are delivered with a taunt and a giggle.
    • 76 Metascore
    • 80 Clarisse Loughrey
    Wasteman
    Cal McMau’s debut takes the well-worn path of prison dramas, focusing on a violent feud waged between cell block bunkbeds. But there’s enough of a noxious stink in the air – the sense that all the system does is create a microcosm of the state, with even less power to scrap over – that Jonsson has the material he needs to fully mesmerise.
    • 76 Metascore
    • 60 Clarisse Loughrey
    No Sudden Move
    No Sudden Move may be a fairly minor entry in his filmography, but it’s well-crafted and thrilling in a way that feels oddly reassuring.
    • 76 Metascore
    • 40 Clarisse Loughrey
    September 5
    The idea that it serves a film like September 5 to tell its story through an apolitical lens isn’t just wrong: it’s laughable.
    • 76 Metascore
    • 80 Clarisse Loughrey
    King Richard
    Who’s really at the wheel of Richard’s ambition? His love for his children or his own ego? It’s a testament to both Green and Smith that the question is allowed to linger so potently.
    • 76 Metascore
    • 80 Clarisse Loughrey
    The Woman King
    This is kinetic, muscular, easy-to-cheer filmmaking applied to a story ready-made for the silver screen.
    • 76 Metascore
    • 80 Clarisse Loughrey
    How to Blow Up a Pipeline
    It’s not a manifesto, really, but a matter-of-fact portrayal of the palpable anger emanating from a betrayed generation.
    • 76 Metascore
    • 100 Clarisse Loughrey
    Pearl
    Pearl’s torment – empathetic, frightening, and ludicrous all at the same time – is believable largely because Goth single-handedly wills it to be.
    • 52 Metascore
    • 60 Clarisse Loughrey
    The Amateur
    We’ve seen all this before, but at least The Amateur finds its own way to get the job done.
    • 76 Metascore
    • 80 Clarisse Loughrey
    The Fire Inside
    The Fire Inside is a sports biopic with the nerve to ask, “What happens after the win?” It’s a simple shift in emphasis, but an unexpectedly transformative one, which forces us to reckon with how shortsighted we can be in our assumptions that victory creates a certain kind of immortality.
    • 75 Metascore
    • 80 Clarisse Loughrey
    Encanto
    Encanto bursts with colour and abstract flights of fantasy.
    • 75 Metascore
    • 100 Clarisse Loughrey
    The French Dispatch
    Like the very best of Anderson’s films, The French Dispatch is both utterly exquisite and deceptively complex – a film that, like the finest of dishes, is even richer in its aftertaste.
    • 75 Metascore
    • 80 Clarisse Loughrey
    Benedetta
    In Benedetta, master provocateur Paul Verhoeven demolishes the line between the sacred and the profane. The breast becomes holy, a source of nourishment from which religious fervour can stem. The Virgin Mary, in turn, inspires not only boundless grace but sexual desire.
    • 75 Metascore
    • 80 Clarisse Loughrey
    Pleasure
    Kappel’s astounding performance constantly draws the film’s energy back to her in a way that ensures the audience is never in doubt of Linnea’s own agency, even in her most vulnerable moments.
    • 75 Metascore
    • 80 Clarisse Loughrey
    Send Help
    It’s been told with enough wit and viscera to outpace many of its competitors.
    • 75 Metascore
    • 60 Clarisse Loughrey
    Belfast
    Branagh doesn’t seem as eager as Cuaron to interrogate his own memories, or to reckon with how the protective veil of one’s parents can shield a child from reality.
    • 75 Metascore
    • 40 Clarisse Loughrey
    Civil War
    We’re never told what this conflict is about, who might be oppressed, or what freedoms have been stolen away. All we’re given is violence.
    • 75 Metascore
    • 80 Clarisse Loughrey
    Polite Society
    Manzoor’s film, with a roundhouse kick to the heart, both parodies the generational divide with its fantastical plot and finds sympathy for what makes parents domineering.
    • 75 Metascore
    • 80 Clarisse Loughrey
    The Bob's Burgers Movie
    The Bob’s Burgers Movie proves that more of the same is sometimes the very best thing.
    • 58 Metascore
    • 60 Clarisse Loughrey
    The Equalizer 3
    The Equalizer 3 is about as good as the first film – it neatly counterbalances Fuqua’s baroque, blood-and-guts action with Washington’s ability to command attention while sitting perfectly still.
    • 75 Metascore
    • 80 Clarisse Loughrey
    Emily
    Though it takes a liberal approach to biography, it’s so attuned to Emily’s creative spirit that it’s not implausible that this is how the author might have chosen to envision her own life if given the chance. Emily captures the soul of the artist, if not her reality.
    • 75 Metascore
    • 60 Clarisse Loughrey
    Rebuilding
    Rebuilding, instead, is a lovely rendering of what feels like half a story. It’s not the action its title promises, but the preceding moment of retreat to lick one’s wounds.
    • 75 Metascore
    • 80 Clarisse Loughrey
    Titane
    It’s a body horror that’s really a family drama; that’s really a sly comedy about the discomfort of being trapped inside all this vulnerable, imperfect flesh.
    • 74 Metascore
    • 80 Clarisse Loughrey
    They Cloned Tyrone
    This is a story, ultimately, that drives home the idea that solidarity can exist even when there’s no sense of community – and particularly when that community has been systematically dismantled by the powers that be.
    • 74 Metascore
    • 80 Clarisse Loughrey
    Bottoms
    Despite the performative feminism, and beyond the black eyes and broken noses, the girls still work naturally towards clique-defying female solidarity. It’s the small, sincere thought behind the joke: you don’t have to master the theory to know that women are stronger together.
    • 74 Metascore
    • 60 Clarisse Loughrey
    Catherine Called Birdy
    Birdy, in many ways, is basically a pint-sized Hannah Horvath, Dunham’s onscreen alter-ego and the de facto lead of Girls. Both wrestle with the insecurities that stem from never quite aligning with traditional expectations of femininity. Both refuse to ever consider that the blessings and burdens they carry may not be universally shared among their acquaintances.
    • 74 Metascore
    • 100 Clarisse Loughrey
    Bones and All
    With Bones and All, Guadagnino has pulled sweet tragedy out of marred and bloodied flesh.
    • 74 Metascore
    • 100 Clarisse Loughrey
    Dune: Part One
    It is a film of such literal and emotional largeness that it overwhelms the senses.
    • 74 Metascore
    • 60 Clarisse Loughrey
    Armageddon Time
    As imperfect as Armageddon Time is, its director’s honesty is something to be appreciated.
    • 74 Metascore
    • 80 Clarisse Loughrey
    Teenage Mutant Ninja Turtles: Mutant Mayhem
    Teenage Mutant Ninja Turtles: Mutant Mayhem blends a hyper-aware but affectionate love of the franchise’s past with the look and lingo of the present. It’s learnt all the right lessons from the current Spider-Verse craze.
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