Clarisse Loughrey

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The Independent
For 467 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% 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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    • 90 Metascore
    • 100 Clarisse Loughrey
    All of Us Strangers
    In Andrew Haigh’s melancholy ghost story, where real ghosts are out-haunted by words left unsaid, Scott, an actor of fierce intelligence, channels shrewdness into tragedy for the greatest performance of his career.
    • 61 Metascore
    • 100 Clarisse Loughrey
    Babylon
    The film’s vision of the Twenties may be propelled to the very border of believability, but it’s rarely inauthentic. This is a work of studious imagination.
    • 91 Metascore
    • 100 Clarisse Loughrey
    It Was Just an Accident
    It’s a film of overwhelmingly visceral emotion; impossible, then, to separate from what we imagine Panahi must feel himself. And yet, so often, we’ll see characters clamber over each other and wheel around their limbs like they’re in a Buster Keaton comedy.
    • 85 Metascore
    • 100 Clarisse Loughrey
    Pillion
    What Lighton has achieved here is incredibly delicate, intuitive work, which never compromises on the story’s explicit nature or in the specificities of its subculture.
    • 86 Metascore
    • 100 Clarisse Loughrey
    I Saw the TV Glow
    I Saw the TV Glow speaks so powerfully to the curse of denial that the words “there is still time”, scrubbed in chalk on a suburban street, can have an almost magical effect on the viewer.
    • 77 Metascore
    • 100 Clarisse Loughrey
    Nope
    Peele, really, is the magician disguised as a filmmaker. Nope is the sleight of hand so slick you’ll never question how the trick was pulled off.
    • 82 Metascore
    • 100 Clarisse Loughrey
    Challengers
    It’s the most gripping sports movie in years.
    • 93 Metascore
    • 100 Clarisse Loughrey
    Uncut Gems
    The film magnificently frames modern life as a world of illusions, where a busy life equates to a successful one and the gamble always pays off. It’s an almost punishingly chaotic film, though each line of overlapping dialogue and jittery camera move is carefully orchestrated.
    • 63 Metascore
    • 100 Clarisse Loughrey
    The Electrical Life of Louis Wain
    The Electrical Life of Louis Wain is also disarmingly tender, blessed with a deep affectation for its subject that feels fuller and more romantic in its nature than straightforward respect.
    • 87 Metascore
    • 100 Clarisse Loughrey
    Return to Seoul
    Go back to your roots, we’re always told, and you’ll find your heart’s true home. But in Davy Chou’s daring and mesmeric Return to Seoul, an adoptee’s search for her birth parents tears open wounds and unearths neither meaning nor resolution.
    • 95 Metascore
    • 100 Clarisse Loughrey
    One Battle After Another
    Paul Thomas Anderson has directed a swaggering, funny and timely action epic, where momentum never lets up and supporting actors Sean Penn and Teyana Taylor steal the show.
    • 87 Metascore
    • 100 Clarisse Loughrey
    The Banshees of Inisherin
    The Banshees of the Inisherin is really a beautiful work to behold.
    • 72 Metascore
    • 100 Clarisse Loughrey
    Bugonia
    While it’s been argued that Lanthimos harbours active disdain for other people, Don reminds us that there’s a poignant streak of empathy to be found in even the most nihilistic of his stories. Hope, in Bugonia, is mostly lost. But not entirely.
    • 72 Metascore
    • 100 Clarisse Loughrey
    Die My Love
    Die My Love captures most meaningfully the feeling of spiralling mental distress as like a dam that’s about to burst with no river to carry its water.
    • 91 Metascore
    • 100 Clarisse Loughrey
    The Brutalist
    It’s not a film to devour, but to be devoured by. There’s such a weight to it that it creates its own field of gravity.
    • 85 Metascore
    • 100 Clarisse Loughrey
    Black Bag
    While the supporting cast are impeccable across the board, it’s really Blanchett and Fassbender’s film to command, with performances that drip with old-school star power.
    • 71 Metascore
    • 100 Clarisse Loughrey
    Blitz
    It’s a war picture, in the more conventional mould, that feels new and revelatory purely because it’s being viewed through the eyes of its singular director – expressionist yet rarely sentimental, disquieting in its terrors yet tender in its hope, and profoundly interested in the ordinary lives of others.
    • 79 Metascore
    • 100 Clarisse Loughrey
    Dune: Part Two
    Part Two is as grand as it is intimate, and while Hans Zimmer’s score once again blasts your eardrums into submission, and the theatre seats rumble with every cresting sand worm, it’s the choice moments of silence that really leave their mark.
    • 70 Metascore
    • 100 Clarisse Loughrey
    Nightmare Alley
    Del Toro can do worldbuilding in his sleep, but you might also find Cooper’s brittle performance, filled with such elemental sadness, hard to shake off. Nightmare Alley is the shadow that lingers.
    • 91 Metascore
    • 100 Clarisse Loughrey
    Nickel Boys
    A feat of full-bodied immersion, using a point-of-view camera, finely tuned sound design, and cinematic illusion to create a reality that takes hold of and then never quite leaves its audience’s souls.
    • 95 Metascore
    • 100 Clarisse Loughrey
    Aftersun
    The mind, too often, moulds memories into prophecies. Colours get dialled up. Emotions solidify. It’s a hard thing to talk about, let alone visualise. That’s why Aftersun, the debut of Scottish filmmaker Charlotte Wells, is so astounding. She’s captured the uncapturable, finding the words and images to describe a feeling that always seems to sit just beyond our comprehension.
    • 89 Metascore
    • 100 Clarisse Loughrey
    Killers of the Flower Moon
    DiCaprio and De Niro are brilliant, but it is relative unknown Lily Gladstone who is truly extraordinary.
    • 72 Metascore
    • 100 Clarisse Loughrey
    Mickey 17
    For all the cruelty and buffoonery that might surround his hero, Bong lets us in on a revelation: what we’re really watching is a man learning that it’s OK for him to be happy.
    • 93 Metascore
    • 100 Clarisse Loughrey
    All We Imagine as Light
    It’s a film that feels like a long exhale, the moment of unburdening after a tight embrace. It’s beautiful.
    • 92 Metascore
    • 100 Clarisse Loughrey
    The Zone of Interest
    The Zone of Interest . . . issues a warning from just outside the walls of Auschwitz, spreading its soul-sickness across each frame.
    • 80 Metascore
    • 100 Clarisse Loughrey
    Barbie
    While it’s impossible for any studio film to be truly subversive, this Mattel-approved comedy gets away with far more than you’d think was possible.
    • 78 Metascore
    • 100 Clarisse Loughrey
    Nosferatu
    Depp does magnificent work in embodying the sense of existing out of place, not only in the violent contortions and grimaces of supernatural possession, but in the way Ellen’s gaze seems to look out beyond her conversation partner and into some undefinable abyss.
    • 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.
    • 82 Metascore
    • 100 Clarisse Loughrey
    The Northman
    It’s a big risk to spend that much cash on an auteur-driven historical epic at a time when historical epics have largely fallen by the wayside. But what a beautiful risk it is. I call upon Odin: may The Northman make a billion dollars.
    • 81 Metascore
    • 100 Clarisse Loughrey
    Everything Everywhere All at Once
    Everything Everywhere All at Once exists in the outer wilds of the imagination, in the realm of lucid dreaming and liminal spaces. It bounces off familiar representations of altered states, whether it be The Matrix or the phantasmical films of Michel Gondry, while feeling entirely unclassifiable. It’s both proudly puerile, with a running joke about butt plugs, and breathlessly sincere about the daily toil of intergenerational trauma.
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