Gregory Ellwood

Select another critic »
Hitfix, The Playlist
For 325 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 5.4 points higher than other critics. (0-100 point scale)

Gregory Ellwood's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 I Lost My Body
Lowest review score: 25 Wakefield
Score distribution:
  1. Positive: 223 out of 325
  2. Mixed: 100 out of 325
  3. Negative: 2 out of 325
325 movie reviews
view
per page
    • 67 Metascore
    • 50 Gregory Ellwood
    Ponyboi
    O’Brien has never had the opportunity to play such a sketchy, dirty character before and utterly kills it. This is the sort of performance that make casting directors take notice.
    • 71 Metascore
    • 75 Gregory Ellwood
    Unicorns
    The chemistry between Patel and Hardy is often divine, and the latter delivers such a layered and charismatic performance you’re with it till the end.
    • 61 Metascore
    • 83 Gregory Ellwood
    How to Train Your Dragon
    That bond between Hiccup and Toothless, mostly thanks to Thames’ impressive commitment, with that Powell score thrown in for good measure? Heavens, it’s simply glorious. And just like the original, you’ll want to experience it all over again.
    • 77 Metascore
    • 75 Gregory Ellwood
    The Mysterious Gaze of the Flamingo
    Dipping his toe into the not-so different motifs of Hollywood Westerns and telenovelas with a wink or two to some queer cinema classics, Céspedes has bold artistic aspirations.
    • 84 Metascore
    • 91 Gregory Ellwood
    Sirât
    Throughout this journey across North Africa, Laxe peppers the film with moments that touch on pertinent themes such as the power of a chosen family, Western society’s naive self confidence when confronting the environment, and perhaps most poignantly, the fallacy that because we have so little control, we can dance away as the world crumbles around us.
    • 74 Metascore
    • 67 Gregory Ellwood
    Romería
    In the hands of another filmmaker, these events could be the sparks of loud and fiery confrontations, but Simón insists they play out in a grounded, quiet fashion. There is barely a hint of melodrama, even when you can sense the tension amongst the siblings and their parents.
    • 64 Metascore
    • 75 Gregory Ellwood
    The History of Sound
    Heavens, that masterful first half of filmmaking. That quiet, subtle love affair. That charismatic pairing between Mescal and O’Connor, which, for a moment, feels like a cinematic romance for the ages. Oh, I’ll pay a ticket just to experience that again, absolutely. But just that. Just that.
    • 86 Metascore
    • 91 Gregory Ellwood
    Sentimental Value
    As with much of his previous work, Trier is masterful with delicate, humanist moments.
    • 52 Metascore
    • 50 Gregory Ellwood
    Eleanor the Great
    The film’s saving grace, of course, is Squibb. When the movie needs her the most, she delivers. She brings the laughs and – almost – gives the film the emotional ending it’s aiming for.
    • 70 Metascore
    • 75 Gregory Ellwood
    Eagles of the Republic
    Despite a fantastic performance by Fares (and a stellar score from Alexandre Desplat), “Eagles” doesn’t have the emotional gut punch you’d expect. But you believe that everything Saleh depicts can or will occur, and that’s an achievement in and of itself.
    • 71 Metascore
    • 58 Gregory Ellwood
    Enzo
    The result is a drama full of intriguing ideas, and one unexpectedly memorable performance, that is often more obvious than it wants to be.
    • 85 Metascore
    • 83 Gregory Ellwood
    Pillion
    What this collection of bold artists has pulled off is a fascinating portrait of one man coming to terms with his own identity in a genuinely original way.
    • 67 Metascore
    • 67 Gregory Ellwood
    The Little Sister
    Herzi’s directing skills have showcased her talented cast. Her slick aesthetic has given the tale a needed polish. But will the rest of it stay with you? For someone, somewhere, in a similar situation, if they can find a way to see it, it no doubt will.
    • 85 Metascore
    • 75 Gregory Ellwood
    Two Prosecutors
    Loznitsa and his creative team have been meticulous in how every shot plays out. And as hinted earlier, the entire motion picture is meticulous to a fault. It’s only a somewhat twisty ending that saves the endeavor from blowing its relevance away.
    • 74 Metascore
    • 83 Gregory Ellwood
    Highest 2 Lowest
    It’s no shame that this thriller isn’t even in the top pantheon of Lee joints, as he refers to them. The man has some masterpieces on his resume. It might be in Washington’s, however. He’s so viscerally engaging that you want to see the movie again just to enjoy his performance.
    • 48 Metascore
    • 58 Gregory Ellwood
    The Thing with Feathers
    Despite a committed performance from Benedict Cumberbatch, the end result truly doesn’t coalesce either from an artistic or cinematic perspective.
    • 57 Metascore
    • 75 Gregory Ellwood
    Rabbit Trap
    An incredibly ambitious film that, at times, astounds and then somehow can’t completely stick the landing.
    • 79 Metascore
    • 91 Gregory Ellwood
    Sunfish (& Other Stories on Green Lake)
    It’s hard to recall a movie that leaves you with this feeling of genuine hope.
    • 65 Metascore
    • 75 Gregory Ellwood
    Plainclothes
    What truly elevates Plainclothes in this genre are the contributions from Tovey and Blyth.
    • 78 Metascore
    • 91 Gregory Ellwood
    Lurker
    Lurker is the sort of film that lingers with you for days.
    • 38 Metascore
    • 58 Gregory Ellwood
    Bubble & Squeak
    When the laughs fade, the tone feels all too familiar. Despite superb work behind the camera and some picturesque Estonian locations, “Bubble” is less original than it wants to be.
    • 90 Metascore
    • 91 Gregory Ellwood
    Sorry, Baby
    The most remarkable aspect of Victor’s accomplishment with Sorry, Baby isn’t her wry sense of humor and deft observations about the inherent awkwardness of human social interactions (although it consistently pops). Instead, it’s how she emphasizes the seriousness of the events while staying true to Agnes’ unique personality.
    • 75 Metascore
    • 83 Gregory Ellwood
    Rebuilding
    As a filmmaker, Walker-Silverman’s talents are letting a narrative unfold without pretense or melodrama. When the events are this powerful you don’t need to ratchet up the stakes.
    • 42 Metascore
    • 58 Gregory Ellwood
    Opus
    Despite a talented cast, the comedic aspect of the movie is tepid at best. Outside of Ariel’s character (Edebiri saves a lot of it), the jokes are obvious and predictable. Moreover, Ariel is the only well-rounded character in the movie despite, maybe, the ego-driven Moretti.
    • 82 Metascore
    • 50 Gregory Ellwood
    Peter Hujar's Day
    These recollections might be captivating on paper, but they become somewhat monotonous and uninteresting on screen.
    • 67 Metascore
    • 50 Gregory Ellwood
    The Legend of Ochi
    Along with some truly breathtaking visuals, the pint-size Ochi is the best part of Saxon’s long-in-the-works opus.
    • 79 Metascore
    • 83 Gregory Ellwood
    Twinless
    At its heart, Twinless is a movie about loneliness. About finding someone to fill that emptiness, soothing life’s inherent anxiety. Whether a lover or a friend, they are often hard to find.
    • 47 Metascore
    • 58 Gregory Ellwood
    Jimpa
    What keeps “Jimpa” from collapsing on itself is Colman’s steady turn (don’t forget, she’s so talented she was the only compelling aspect of Marvel Studios’ disastrous “Secret Invasion”) and Matthew Chuang’s wonderfully lush cinematography.
    • 78 Metascore
    • 91 Gregory Ellwood
    If I Had Legs I'd Kick You
    Bornstein has fashioned a cinematic anxiety-fueled experience whether you can relate to having children or not.
    • 52 Metascore
    • 50 Gregory Ellwood
    William Tell
    The result, as hinted earlier, is a high-end B-movie that would have been in heavy rotation on cable television’s TNT or USA Network as a wallpaper movie in the ’00s. And there is something genuinely fun about filmmakers wanting to dip their toes back into those waters. But, for that genre to work, it needs to be less bloated than this and, more importantly, not end by teasing a sequel.
Page:

Top Trailers

See all »
See all trailers »