Gregory Ellwood

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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
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    • 64 Metascore
    • 91 Gregory Ellwood
    Youth
    Youth has some significant points on frustration of fame, ageism and our natural inclination to lose perspective, but it’s primarily about finding peace and happiness in your life. That may sound painfully obvious. It may even sound cliché. But somehow Sorrentino is able to fashion the film's diverse elements into an emotional narrative that makes it all feel fresh and new. And that’s truly worth celebrating.
    • 82 Metascore
    • 42 Gregory Ellwood
    The Assassin
    Hou and cinematographer Ping Bin Lee (“Renoir”) produce some stunning images on location (one conversation takes place as a fog beautifully emits from the bottom of a valley), but it’s hard to find a thematic connection between the directing style Hou has chosen and the story.
    • 79 Metascore
    • 83 Gregory Ellwood
    Mountains May Depart
    Jia probably made a mistake directing the 1999 sequence in such an over-the-top and stilted tone (it also feels more like 1989 than the turn of the century), but the rest of the film is incredibly well done.
    • 35 Metascore
    • 58 Gregory Ellwood
    Marguerite & Julien
    Demoustier is charismatic enough to almost help Donzelli pull it off, but Elkaïm is so stiff as Julien you never understand why Marguerite is willing to risk her life in the first place.
    • 66 Metascore
    • 67 Gregory Ellwood
    Disorder
    It's good stuff and, in a perfect world, will prompt Hollywood execs to take Winocour's directing skills very seriously.
    • 82 Metascore
    • 83 Gregory Ellwood
    The Lobster
    Lanthimos presents a fully formed original vision that hits a perfect tone even when the narrative begins to get away from him a bit.
    • 70 Metascore
    • 67 Gregory Ellwood
    Louder Than Bombs
    Trier is far too talented for there not to be some good things here, but it just doesn’t add up to much.
    • 51 Metascore
    • 75 Gregory Ellwood
    Love
    Love may not be as erotic as many expect. The gratuitous sex may eventually start to bore many viewers. Some may even take off their 3D glasses because they simply aren't necessary. Yet, for all its faults, Love is a film that somehow still resonates.
    • 72 Metascore
    • 83 Gregory Ellwood
    Tale of Tales
    A slightly bumpy two hours of storytelling, but it's peppered with wonder and unexpected humor.
    • 94 Metascore
    • 83 Gregory Ellwood
    Carol
    Only the combined talents of both Blanchett and Mara can make the film's powerfully realized finale work.
    • 53 Metascore
    • 58 Gregory Ellwood
    Irrational Man
    His characters may spout Kant and debate the ethics of different human interactions, but it's only sugar coating on top of what is effectively a simple and familiar story.
    • 85 Metascore
    • 91 Gregory Ellwood
    Amy
    Amy also turns the camera back on the viewer who saw, mocked and ignored Winehouse’s descent as it transpired across the media landscape. How could the world collectively denigrate a woman whose addiction was destroying her? In this era of reactionary social media it’s a warning to all of us to be wary of stoning the next Amy in the digital town square.
    • 65 Metascore
    • 83 Gregory Ellwood
    The Overnight
    Much of the success of the film is due to the four leads who seamlessly work the one or two outrageous moments into the story without resorting to over-the-top characterizations.
    • 75 Metascore
    • 91 Gregory Ellwood
    Mistress America
    Baumbach has cast a wonderfully talented group of up-and-coming actors around Gerwig and Kirke, but it's the screenplay and the leads' incredible chemistry that makes it all so entertaining. There are so many one-liners that you miss because the previous line of dialogue is just as smart and laugh-inducing.
    • 71 Metascore
    • 91 Gregory Ellwood
    The Theory of Everything
    Many moviegoers may think they already know a good deal about Hawking’s achievements, but they would do themselves a disservice to miss out on Redmayne’s almost perfect performance.
    • 65 Metascore
    • 75 Gregory Ellwood
    Film Stars Don't Die in Liverpool
    While Bening is incredible playing a fading Hollywood starlet in Paul McGuigan’s Film Stars Don’t Die In Liverpool, it’s her co-star, Jamie Bell, who might be the film’s real secret weapon.
    • 65 Metascore
    • 58 Gregory Ellwood
    Hostiles
    Bale and Pike are superb. Despite some melodramatic tendencies and strange choices in Cooper’s script they make you have sympathy and compassion for each of their characters.
    • 78 Metascore
    • 83 Gregory Ellwood
    Sorry to Bother You
    Too many of the jokes fall flat and as the film moves forward you’re so captivated by the bizarre plot twists that recognizing the humor becomes secondary.
    • 63 Metascore
    • 58 Gregory Ellwood
    Damsel
    The film’s inherent problems, however, are two fold. First, the third of the picture is an absolute slog. The Zellner’s may have though this was a creative choice to make the comedic scenes funnier when they finally hit, but it simply doesn’t work. Second, the funny bits simply aren’t as funny as they should be.
    • 64 Metascore
    • 58 Gregory Ellwood
    The Lost King
    In a vacuum, Langley’s true story is quite remarkable, but sadly, the elements don’t truly come together in this somewhat by-the-numbers film.
    • 90 Metascore
    • 83 Gregory Ellwood
    The Tale
    Fox knows firsthand the events that occur to Dern’s character in her feature narrative debut because they happened to her. And beyond its creative success and failures, her willingness to tell her own story in such graphic detail is a startlingly brave act.
    • 75 Metascore
    • 75 Gregory Ellwood
    The Kindergarten Teacher
    Colangelo’s adaptation continually feels like it’s missing something.... Luckily though, Collangelo has Gyllenhaal, who is exceptional at times here, to carry it through.
    • 82 Metascore
    • 91 Gregory Ellwood
    Madeline's Madeline
    From a narrative standpoint, Decker and her three writing collaborators have fashioned a reasonably compelling story. What makes the film transcendent is how she uses the art of cinema to convey it and Howard’s phenomenal performance.
    • 51 Metascore
    • 75 Gregory Ellwood
    I Think We're Alone Now
    As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.
    • 67 Metascore
    • 50 Gregory Ellwood
    Juliet, Naked
    Sadly, even with the contributions of four screenwriters and the still underrated talents of Byrne...it simply doesn’t work.
    • 64 Metascore
    • 58 Gregory Ellwood
    The Happy Prince
    It’s well crafted and compelling at times thanks mostly to the casts’ efforts, but there is an emptiness that permeates through the film as if a significant piece of Wilde’s demise is missing.
    • 69 Metascore
    • 67 Gregory Ellwood
    The Miseducation of Cameron Post
    Where Akhavan succeeds is whenever she has the kids doing things teenagers would be doing.
    • 83 Metascore
    • 58 Gregory Ellwood
    Private Life
    Jenkins has a vision and something interesting to say in Private Life, but it needs some serious editing to convey it succinctly.
    • 75 Metascore
    • 83 Gregory Ellwood
    Blindspotting
    Yes, you’ll likely leave the theater blown away by Casal and Diggs’ considerable talent, but its Estrada’s vision that will haunt you.
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