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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    • 25 Metascore
    • 40 Guy Lodge
    Playmobil: The Movie
    An attempt to do for the smiling, claw-handed Playmobil collective what “The Lego Movie” did for the humble plastic brick — but without that blockbuster’s dizzy, self-aware wit and visual invention — Lino DiSalvo’s hyperactive film never transcends its blatant product-flogging purpose.
    • 49 Metascore
    • 50 Guy Lodge
    Set Fire to the Stars
    Its appreciation of Thomas’ work remains superficial, while the polished filmmaking never quite finds its own poetry.
    • 84 Metascore
    • 60 Guy Lodge
    Stray Dogs
    Tsai here seems to be stripping his ornately eccentric style down to formal fundamentals. A certain pictorial grace remains; his sense of humor, sadly, appears to have been largely tossed out with the bathwater.
    • 64 Metascore
    • 60 Guy Lodge
    Day of the Fight
    The light and shade here is all in Peter Simonite’s splendid, inky-shadowed monochrome lensing; Huston’s visual sense outweighs his screenwriting.
    • 82 Metascore
    • 60 Guy Lodge
    Marjorie Prime
    Though it mostly resists contrived “opening-out” devices, and preserves the decidedly low-tech visualization of the play’s sci-fi premise, Michael Almereyda’s well-cast film never finds a suitably complex cinematic language for its tangle of intellectual and emotional ideas.
    • 82 Metascore
    • 60 Guy Lodge
    Sicario
    Sicario occasionally seems a little too impressed by its own nihilism. Still, this is an involving, grown-up film from a director whose muscular technique continues to impress: one might call it pulp in the same manner one would a plate of minced meat.
    • 42 Metascore
    • 40 Guy Lodge
    The Internship
    It’s a testament to the duo’s jazzy comic chemistry that they wring some laughs from this dated, frankly sinister premise.
    • 80 Metascore
    • 60 Guy Lodge
    The Beast
    Laden with enticing ideas and images that never quite activate each other, “The Beast” instead coagulates into a thick 146-minute triptych of general, fidgeting malaise, and strands a hard-working Léa Seydoux and George MacKay in a cross-time, cross-purposes relationship that keeps shape-shifting without getting us terribly involved.
    • 79 Metascore
    • 60 Guy Lodge
    Green Room
    Characterization and emotional investment, however, are in disappointingly short supply, while crucial tension is permitted to dissipate in an anti-climactic final third.
    • 79 Metascore
    • 60 Guy Lodge
    Hermia & Helena
    With its tricksy timeline and waifish subplots, the film feels unduly stretched even to reach its modest length, while our dramaturgy-fixated protagonist is slow to stumble into a compelling arc of her own.
    • 78 Metascore
    • 60 Guy Lodge
    Les Misérables
    It’s a furious work of social geography that satisfies slightly less as a character piece: In its ambitious attempt to dramatize the violent anxieties of men on both sides of the law, Les Misérables risks selling some victims a little short.
    • 34 Metascore
    • 50 Guy Lodge
    Balls Up
    A mostly pretty innocuous affair — give or take some par-for-the-course ethnic stereotyping and at least one close-up involving a prosthetic glans — it’s neither good nor bad to any memorable degree, not as riotous as it could have been but not devoid of low-hanging laughs either.
    • 53 Metascore
    • 40 Guy Lodge
    You, Me & Tuscany
    You, Me & Tuscany passes the time painlessly enough, but it’s never quite the escape it wants to be: It’s packaged so familiarly and so cautiously, we hardly believe its celebration of free, restlessly wandering impulse.
    • 78 Metascore
    • 40 Guy Lodge
    A Quiet Passion
    [Davies'] most mannered and least fulfilling work to date, A Quiet Passion boasts meticulous craft and ornate verbiage in abundance, but confines Cynthia Nixon’s melancholia-stricken performance as arguably America’s greatest poet in an emotional straitjacket of variously arch storytelling tones.
    • 43 Metascore
    • 60 Guy Lodge
    The Aftermath
    The result is attractive and diverting, as any well-appointed film starring these actors in mouthwatering period finery could hardly fail to be — though for a story about people rebuilding their lives through grievous personal loss and moral torment, it’s hard not to wonder if its vast reserves of enviable knitwear are counting for more than they should.
    • 68 Metascore
    • 60 Guy Lodge
    Equity
    While the severity of the film’s environment convinces, the specifics of Amy Fox’s screenplay — tangled up in tech IPOs, post-Snowden security paranoia and venal investment banking practice — are less consistently persuasive.
    • 77 Metascore
    • 40 Guy Lodge
    A Touch of Sin
    If the final effect is somewhat less nuanced than his previous work, it's a good deal more vigorous.
    • 47 Metascore
    • 40 Guy Lodge
    Robot Overlords
    Even with such generic scripting, however, there’s a genial, palpably enthusiastic chemistry between the four young, capable stars that gives their hijinks a bit of bounce.
    • 42 Metascore
    • 40 Guy Lodge
    The Adderall Diaries
    Franco’s cultivated impenetrability makes for a pain-ridden but peculiarly passionless experience, with multiple clashing subplots — on such insufficiently explored themes as parental abuse, uxoricide and masochism — obstructing an already opaque character study.
    • 60 Metascore
    • 50 Guy Lodge
    Timmy Failure: Mistakes Were Made
    The quiet humanity of McCarthy’s filmmaking meshes oddly with the material’s zanier demands, finally reaching an anodyne middle ground.
    • 76 Metascore
    • 60 Guy Lodge
    Mud
    It’s a broader, starrier project than either of Nichols’s previous films, and he handles the transition to the major league with relative confidence.
    • 31 Metascore
    • 40 Guy Lodge
    Fifty Shades Freed
    Departing only incidentally from E.L. James’s trashy tome, and making up for any short cuts with extra set dressing, this is brochure cinema of the most profuse order, selling its audience more on a lifestyle than on any of the lives inside it.
    • 75 Metascore
    • 60 Guy Lodge
    Stefan Zweig: Farewell to Europe
    This articulate, formally immaculate portrait proves less compelling in practice than it does in principle: Over-burdened at the outset with extraneous ceremonial detail and starchy speechifying, the film takes a dry, acolytes-only approach before later, more domestically focused chapters raise the body temperature of proceedings.
    • 74 Metascore
    • 60 Guy Lodge
    Porcelain War
    Porcelain War thrives on contrast, much of it poignant.
    • 74 Metascore
    • 60 Guy Lodge
    Strawberry Mansion
    Even as their film stretches its flights of fancy past breaking point, there are pleasures to be taken from the blithe, handmade execution of its vision, throwing everything in the pot from creaky animal puppetry to 8-bit effects.
    • 66 Metascore
    • 50 Guy Lodge
    Suspended Time
    Alternating a thinly fictionalised portrait of the artist isolating at his family’s country home with fully autobiographical narration by the director himself, this mildly amusing but vastly indulgent bagatelle feels a tardy entry in the first wave of lockdown cinema — too late to feel fresh, but still too soon to have accumulated much meaningful perspective on an experience we all remember too well.
    • 47 Metascore
    • 50 Guy Lodge
    Peaceful
    The film is too emotionally blunt not to wring tears (or at least a solid lump in the throat) where required, though they don’t always feel artfully earned. Either way, at over two hours, it’s a long trudge toward an inevitable end.
    • 74 Metascore
    • 60 Guy Lodge
    The Crime Is Mine
    It’s a film less about any frenetic onscreen shenanigans as it is about its own mood board of sartorial and cinematic reference points — Jean Renoir, Billy Wilder, some vintage Chanel — and as such it slips down as fizzily and forgettably as a bottle of off-brand sparkling wine.
    • 73 Metascore
    • 60 Guy Lodge
    Like Father, Like Son
    There’s typical grace and good humour in Kore-eda’s handling of this all-but-impossible situation. But the film’s critical lack of dramatic nuance undercuts its emotional resonance.
    • 73 Metascore
    • 60 Guy Lodge
    Hill of Freedom
    Hill of Freedom, its noble implications lending outward grandeur to a romantic triangle that reps a cream puff even by Hong’s trifling standards. Cream puffs have their merits, though — principally the aerated, uncomplicated sweetness that characterizes this barely feature-length distraction, the light emotional foibles and regrettably careless cinematic construction of which are of a piece with the helmer’s swiftly produced recent work.
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