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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    • 75 Metascore
    • 80 Clarisse Loughrey
    Send Help
    It’s been told with enough wit and viscera to outpace many of its competitors.
    • 86 Metascore
    • 80 Clarisse Loughrey
    No Other Choice
    Park has a galvanising kind of curiosity behind the lens, pairing here with cinematographer Kim Woo Hyung. There’s always a new, unexpected angle to either watch Man Su or see his point of view.
    • 63 Metascore
    • 80 Clarisse Loughrey
    H Is for Hawk
    H Is for Hawk concerns itself less with the healing of wounds, but rather with the prying open of them. Can we look so deep into the pulp that the fear of it eventually washes away?
    • 34 Metascore
    • 20 Clarisse Loughrey
    Mercy
    Any effort to force us to identify with Chris comes to naught. Any promising idea leads to a dead end. It’s a maddening watch.
    • 64 Metascore
    • 60 Clarisse Loughrey
    Rental Family
    With Fraser as her figurehead, it’s certainly a work of broad and deep compassion. But there are self-imposed limitations that you’d wish Hikari and her co-writer Stephen Blahut would cross, if not purely out of curiosity.
    • 63 Metascore
    • 40 Clarisse Loughrey
    The Rip
    Affleck and Damon, at least, try to pump a little crotchety humanity into their characters. But any hope of suspense, any genuine mystery over who (if anyone) is on the path of betrayal, is swiftly dashed by how poorly defined these suspects are.
    • 70 Metascore
    • 80 Clarisse Loughrey
    I Swear
    I Swear is a crowdpleaser that doesn’t make a spectacle out of its subject, nor mines the darker chapters of their life for tearjerking sentimentality.
    • 81 Metascore
    • 80 Clarisse Loughrey
    28 Years Later: The Bone Temple
    It’s rich thematic territory for the series, and slowly amps up the audience’s anticipation for the moment these two finally cross paths. When they do, it’s spectacular and audacious.
    • 84 Metascore
    • 80 Clarisse Loughrey
    Hamnet
    Buckley, already a frontrunner for the Academy Award for Best Actress, lives up to all the chatter and more. Like Mescal, she’s well-placed to express Agnes’s particular grief.
    • 86 Metascore
    • 80 Clarisse Loughrey
    Sentimental Value
    Sentimental Value doesn’t argue that art heals all wounds, but that it’s sometimes the only recourse for honest expression.
    • 61 Metascore
    • 40 Clarisse Loughrey
    Song Sung Blue
    The problem with this brand of Hollywood tale is that, by excessively romanticising their subjects, they diminish their humanity.
    • 65 Metascore
    • 60 Clarisse Loughrey
    The Housemaid
    Paul Feig nods to ‘Rebecca’ and ‘Vertigo’ in this pulpy adaptation of the Freida McFadden bestseller, which has a secret weapon in the form of a quite brilliant Amanda Seyfried.
    • 61 Metascore
    • 60 Clarisse Loughrey
    Avatar: Fire and Ash
    Fire and Ash, I’m sure, will find its place in the canon. But that doesn’t excuse its flaws.
    • 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.
    • 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.
    • 89 Metascore
    • 80 Clarisse Loughrey
    Marty Supreme
    It spins out like a fairytale penned by someone midway through a stimulant-induced panic attack.
    • 80 Metascore
    • 80 Clarisse Loughrey
    Wake Up Dead Man: A Knives Out Mystery
    Wake Up Dead Man extends its usual punchline denouement with a poignant examination of what it means to be truly righteous in an unrighteous world.
    • 73 Metascore
    • 80 Clarisse Loughrey
    Zootopia 2
    A thoughtful reframing of the Disney original’s metaphor for racism – with new character Gary De’Snake stealing the show.
    • 58 Metascore
    • 40 Clarisse Loughrey
    Wicked: For Good
    I guess we should at least be thankful we’ve been spared the monstrosity of a CGI-rendered Judy Garland as Dorothy (that said, there is some extremely disconcerting use of de-ageing tech elsewhere). But, as those witches might say, one good deed hardly changes things for the better.
    • 53 Metascore
    • 40 Clarisse Loughrey
    Anemone
    Day-Lewis, reliably, commands the whole piece, with that twinkle in his eye that spells either mischief or the inciting spark of an inferno.
    • 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.
    • 56 Metascore
    • 40 Clarisse Loughrey
    The Running Man
    The eerie prescience of Stephen King’s dystopian source material – written in 1972 and set, of all years, in 2025 – has been wiped from this bland reboot, which also seems to know it’s miscast its leading man.
    • 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.
    • 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.
    • 80 Metascore
    • 80 Clarisse Loughrey
    The Mastermind
    When the inevitable comes for our protagonist, The Mastermind delivers it as one of the smartest, wryest punchlines of the year.
    • 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.
    • 41 Metascore
    • 40 Clarisse Loughrey
    The Woman in Cabin 10
    Netflix’s The Woman in Cabin 10 is Agatha Christie for the age of mindless scrolling. It’s a murder mystery that only works if you’re not really paying attention, and are happy in the fact the characters on screen aren’t really either.
    • 48 Metascore
    • 20 Clarisse Loughrey
    TRON: Ares
    The music’s great, but this Jared Leto vehicle is otherwise an ethically dubious, horribly written nadir in franchise slop.
    • 77 Metascore
    • 80 Clarisse Loughrey
    Urchin
    Dickinson doesn’t end Urchin on a note of sentiment or tragedy, but somewhere in the very human middle of it all – and in doing so announces himself as a director with real guts.
    • 69 Metascore
    • 60 Clarisse Loughrey
    Dead of Winter
    What lends Dead of Winter its evocative chill is the way all three women here – kidnapper, kidnapped, and rescuer – are left with nothing but themselves to rely on. There’s no one out here to care for or support them, turning survival into a daily matter of physical and psychological endurance.
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