Guy Lodge

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Time Out, Time Out London, Variety
For 927 reviews, this critic has graded:
  • 54% higher than the average critic
  • 6% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Guy Lodge's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Over the Limit
Lowest review score: 0 The Murder of Nicole Brown Simpson
Score distribution:
  1. Positive: 573 out of 927
  2. Mixed: 310 out of 927
  3. Negative: 44 out of 927
927 movie reviews
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    • tbd Metascore
    • 30 Guy Lodge
    Enea
    The director himself has described the film as a “genre story without a genre,” and as such Ena effectively mirrors its protagonist’s equal detachment from all facets and possibilities of his fabulously floundering life. In theory, this makes sense. Dramatically, however, it’s a dead end, unaided by sporadic, leaden stabs at farce and whimsy.
    • tbd Metascore
    • 30 Guy Lodge
    Status Update
    Inasmuch as one can complain about a film having plot holes when it hinges entirely on a magic cellphone app, much of “Status Update” feels cursory and unconsidered by its hokey standards.
    • 50 Metascore
    • 30 Guy Lodge
    Joan of Arc
    Needless to say, a historical anti-musical that makes [the previous film] “Jeannette” look like “Moulin Rouge!” by comparison is going to win the filmmaker few converts.
    • 47 Metascore
    • 30 Guy Lodge
    The Town That Dreaded Sundown
    This tediously metatextual exercise conjures few inspired jolts of its own.
    • 44 Metascore
    • 20 Guy Lodge
    A Million Ways to Die in the West
    Given an inch by the surprise success of his raunchy teddy-bear romp Ted, writer-director-star MacFarlane now takes a drastically overlong mile with a film that flatters his moderate talent and subzero leading-man charisma at every turn.
    • 42 Metascore
    • 30 Guy Lodge
    Mrs. Lowry & Son
    The disappointment of Mrs. Lowry & Son is that it finds neither of its star attractions at the peak of their powers: Both Spall and Redgrave feel stifled and stiff-jointed, hemmed in by a thin, shallow-focus script that betrays its origins as a radio play all too easily.
    • 41 Metascore
    • 30 Guy Lodge
    Songwriter
    Murray Cummings’ film is a cautiously peppy, unrevealing affair, showing little of the trial and tension that goes into artistic creation — just the finger-snapping moments when it all comes together.
    • 41 Metascore
    • 30 Guy Lodge
    Asthma
    Ritter’s performance is the liveliest thing in a callow, shallow cautionary tale, which wears its influences on its artfully frayed sleeve and no closer than that to its heart.
    • 41 Metascore
    • 30 Guy Lodge
    Marlowe
    A phony, flimsy attempt at vintage noir.
    • 39 Metascore
    • 30 Guy Lodge
    The Family Plan
    Each setpiece is composed and paced much like the last, which only amplifies the sense of Dan as some kind of unflustered, largely unsympathetic man-machine, paused only by the script’s fleeting interpersonal conflicts.
    • 39 Metascore
    • 30 Guy Lodge
    Beauty and the Beast
    There’s digital wizardry galore in this Beauty and the Beast, but precious little magic.
    • 39 Metascore
    • 30 Guy Lodge
    The Gunman
    Penn’s veiny, sweat-glazed biceps are the most objectively impressive feature of this rote, humorless thriller, a distinctly unconvincing attempt to refashion the star — who also co-wrote and produced — as a middle-aged action hero in the Liam Neeson mold.
    • 38 Metascore
    • 30 Guy Lodge
    The Golden Glove
    The Golden Glove may not celebrate its subject, but the intimate examination it offers him is itself a privilege — one for which this ugly, unenquiring film scarcely makes a case.
    • 37 Metascore
    • 30 Guy Lodge
    Burying the Ex
    Strained, sexist schlock, which raises zero jolts and only fitful chuckles with its gamely performed tale.
    • 37 Metascore
    • 30 Guy Lodge
    The Professor
    From its rigid, symmetry-inclined compositions to its heavily worked one-liners, this is cautious, stifling filmmaking in thrall to a reckless, retrograde man, who does little in the course of 90 minutes to merit great fascination or pathos.
    • 36 Metascore
    • 30 Guy Lodge
    Amanda & Jack Go Glamping
    A thin, sparkless romantic comedy that takes satirical aim at a host of current hipster-culture targets, before concluding that merely identifying them is droll enough.
    • 35 Metascore
    • 30 Guy Lodge
    The Affair
    Despite a fine Continental cast and gleaming production values, Czech helmer Julius Ševčík has made a muddled, maudlin hash of what ought to have been a sure thing.
    • 35 Metascore
    • 30 Guy Lodge
    The Huntsman: Winter's War
    The sheer abundance of on-screen ornamentation isn’t quite enough to make The Huntsman: Winter’s War a beautiful film.... Still, it’s one that has been exhaustively designed by many hands — which only further shows up its inelegant patchwork in the writing department.
    • 34 Metascore
    • 20 Guy Lodge
    The Last Witch Hunter
    There are certainly enough dopey diversions here for The Last Witch Hunter to be considerably more fun than it is, but even its most extravagant bouts of silliness are hampered by desultory plotting and Eisner’s oppressively synthetic mise-en-scene.
    • 33 Metascore
    • 30 Guy Lodge
    The Blazing World
    Ambitious but tediously precious, sincerely conceived but derivatively realized, The Blazing World throws an ornate heap of production design at an anemically scripted psychological metaphor, and counts on a combination of fairy dust and sheer determined nerve to make the whole contraption fly.
    • 32 Metascore
    • 30 Guy Lodge
    Every Thing Will Be Fine
    While Wenders has argued intelligently in interviews for the merits of realizing character-driven drama in three dimensions, this isn’t the most helpful case-maker — not least because Norwegian writer Bjorn Olaf Johannessen’s screenplay has barely been rendered in two.
    • 32 Metascore
    • 10 Guy Lodge
    Plastic
    A dismal My First Heist thriller that is all-too-aptly nailed by its own title.
    • 32 Metascore
    • 30 Guy Lodge
    A Week Away
    If anything, the film’s cross-pollination with faith-based cinema is detrimental to its already minimal tension.
    • 32 Metascore
    • 20 Guy Lodge
    The Beautiful Days of Aranjuez
    'Aranjeuz” has less of a pulse than the already inert “Every Thing Will Be Fine."
    • 31 Metascore
    • 30 Guy Lodge
    Fathers and Daughters
    In its shape and sheen, Fathers and Daughters seems dated even before Michael Bolton surfaces to cough up a gelatinous closing-credits ballad.
    • 31 Metascore
    • 20 Guy Lodge
    A Fantastic Fear of Everything
    [A] stunningly joke-free comedy-horror hybrid.
    • 30 Metascore
    • 30 Guy Lodge
    Purple Hearts
    This glossy but gloopy Netflix original is primarily out to serve its leading lady’s legions of fans, some of them perhaps young enough not to have seen it all before.
    • 28 Metascore
    • 30 Guy Lodge
    London Has Fallen
    For all the slicing and dicing of the editing, narrative momentum grinds to a trudge after the synthetic spectacle of the capital’s undoing.
    • 28 Metascore
    • 30 Guy Lodge
    Maladies
    It’s hard for the audience to invest in a protagonist this solipsistic.
    • 28 Metascore
    • 20 Guy Lodge
    Once Upon a Time in Venice
    What scant charms this direct-to-video-style Nineties throwback has belong mostly to Willis.
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