Guy Lodge

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Time Out, Time Out London, Variety
For 931 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: 576 out of 931
  2. Mixed: 311 out of 931
  3. Negative: 44 out of 931
931 movie reviews
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    • 89 Metascore
    • 100 Guy Lodge
    Elle
    Knowingly incendiary but remarkably cool-headed, and built around yet another of Isabelle Huppert’s staggering psychological dissections, Paul Verhoeven’s long-awaited return to notional genre filmmaking pulls off a breathtaking bait-and-switch: Audiences arriving for a lurid slab of arthouse exploitation will be taken off-guard by the complex, compassionate, often corrosively funny examination of unconventional desires that awaits them.
    • 89 Metascore
    • 100 Guy Lodge
    Great Freedom
    Meise’s film is an exquisite marriage of personal, political and sensual storytelling, its narrative and temporal drift tightened by another performance of quietly piercing vulnerability from Franz Rogowski.
    • 89 Metascore
    • 100 Guy Lodge
    Magellan
    The spirit of slow cinema is alive and languid in this stunningly mounted, politically rigorous work, which confronts any viewers hoping for a sweeping biographical romp with a frank post-colonial perspective, thoroughly and violently dismantling any romanticized legacy trailing the eponymous Portuguese navigator.
    • 89 Metascore
    • 90 Guy Lodge
    Gunda
    Its radiantly beautiful imagery and gently immersive storytelling aren’t in service of a single browbeating message, but a broader, holistic view of where we and the animals we rear, use and consume fit into a single circle of life.
    • 89 Metascore
    • 100 Guy Lodge
    Zama
    The frustrating nine-year wait for new material from Martel has done nothing to blunt her exquisite, inventive command of sound and image, nor her knack for subtly violent exposure of social and racial prejudice on the upper rungs of the class ladder.
    • 68 Metascore
    • 80 Guy Lodge
    Frank & Louis
    It’s a script and a production tightly built around its performers, both superb individually, but most importantly, warmly attentive to each other on screen, and capable of sharing a silence.
    • 89 Metascore
    • 90 Guy Lodge
    Dick Johnson Is Dead
    At once a celebration and a lament, simultaneously jubilant and ineffably sad, it’s a film worth sticking around to see.
    • 88 Metascore
    • 100 Guy Lodge
    Ear for Eye
    This abrasive, exhilarating film is out to candidly say its piece, to identify and evoke the world as Tucker Green sees it, and doesn’t much care if viewers agree or not.
    • 88 Metascore
    • 90 Guy Lodge
    Paddington 2
    Paddington 2 is another near-pawfect family entertainment, honoring the cozy, can-do spirit of Bond’s stories while bringing them smoothly into a bustling, diverse 21st-century London — with space for some light anti-Brexit subtext to boot.
    • 88 Metascore
    • 80 Guy Lodge
    City Hall
    The result is both sober and inspiring: an urban progress report taking into account a plethora of government services, scutinized by Wiseman’s patient but unblinking eye.
    • 88 Metascore
    • 90 Guy Lodge
    About Dry Grasses
    This is Ceylan at his most limber and mischievous, the filmmaking exhibiting a generosity and curiosity that belies the script’s defense of individualist, even isolationist, living, at whatever cost to one’s own happiness.
    • 88 Metascore
    • 100 Guy Lodge
    Quest
    [A] living, breathing, stunning documentary.
    • 88 Metascore
    • 100 Guy Lodge
    Things to Come
    Huppert is such a persistently and prolifically rigorous performer that she risks being taken for granted in some of her vehicles, but this is major, many-shaded work even by her lofty standards.
    • 88 Metascore
    • 100 Guy Lodge
    Sweet Country
    The spare, classical chase drama that ensues is seeded with barbed observations on colonialism, cultural erasure and rough justice, kept poetically succinct by Thornton’s lithe, soaring visual storytelling.
    • 88 Metascore
    • 100 Guy Lodge
    Poor Things
    Oddly moving in its fervor and abundance, Poor Things may appear a far cry from the harsh, stripped ascetism of an early work like “Dogtooth.” But they’re actually similar animals, fixated on taking people apart to find what makes them tick, what makes them swoon, what makes them interesting.
    • 88 Metascore
    • 90 Guy Lodge
    2000 Meters to Andriivka
    Like its predecessor, this is an angry, viscerally illustrative film — but it’s a weary one too, occasionally narrating its first-hand view of military combat with the jaundiced sense of futility that comes with living through long-term conflict.
    • 88 Metascore
    • 80 Guy Lodge
    The Human Voice
    The Human Voice, in all its delicious absurdity and kitsch extravagance, ties into the concerns of emotional abandonment and disrupted communication that have long run through his [Almodóvar's] more ostensibly serious works.
    • 87 Metascore
    • 90 Guy Lodge
    Genèse (Genesis)
    Lesage’s filmmaking, with its unhurried editing and eerily echoing music cues, is in expert sympathy with his hovering, out-of-time protagonists.
    • 87 Metascore
    • 100 Guy Lodge
    Familiar Touch
    Friedland’s film, as sharp as it is soft, conveys both the terror of losing the life you recognize, and the intermittent, fragmented joy of finding it again.
    • 87 Metascore
    • 70 Guy Lodge
    Robot Dreams
    Above all else, Berger’s film delights in the kind of eccentric, incidental sights and sounds from which dreams — human, animal or android — can spring.
    • 87 Metascore
    • 90 Guy Lodge
    We Are the Best!
    It’s the rare film about adolescence that doesn’t seem exclusively targeted either to teens or to adults. Rarer still, it’s one that takes an interest in the nourishing qualities of female friendship.
    • 87 Metascore
    • 90 Guy Lodge
    About Endlessness
    If we’ve been here before, the immaculate, somehow tender-hearted execution of About Endlessness ensures this is not a complaint.
    • 87 Metascore
    • 90 Guy Lodge
    Pompei: Below the Clouds
    While among his warmest works, rich in pleasures of place and weather and human motion, it’s no empty travelogue, notwithstanding the sometimes glistening beauty of Rosi’s black-and-white cinematography.
    • 87 Metascore
    • 100 Guy Lodge
    The Banshees of Inisherin
    The result feels closer than any of his previous films to the barbed, intimate lyricism of McDonagh’s work as a playwright, and more deeply, sorrowfully felt to boot.
    • 87 Metascore
    • 90 Guy Lodge
    On Becoming a Guinea Fowl
    Blending molasses-dark comedy with searing poetic realism to capture contemporary Zambian society at a generational impasse between staunch tradition and social progress, this is palpably new, future-minded filmmaking, at once intrepidly daring and rigorously poised.
    • 87 Metascore
    • 80 Guy Lodge
    Happy as Lazzaro
    The film, for all its interest in fables, trades less in morals than in equivocal, irony-laced human observation. Rohrwacher deftly skirts sentimentality even as she risks big, expansive poetic gestures.
    • 87 Metascore
    • 90 Guy Lodge
    Rose
    At once armored, guarded and intensely vulnerable, Hüller’s performance is the human factor here — a volatile, unpredictable element, but one nonetheless attuned to the film’s meticulous shaping and mise-en-scène.
    • 87 Metascore
    • 100 Guy Lodge
    The Shape of Water
    Perhaps the greatest of The Shape of Water’s many surprises is how extravagantly romantic it is, driven throughout by an all-conquering belief in soulmates as lifelines.
    • 87 Metascore
    • 80 Guy Lodge
    The Tsugua Diaries
    Whether wholly performed or partially authentic, The Tsugua Diaries wittily evokes the volatile mood swings of lockdown — how concentrated time with the same people can yield either irritation or intensified closeness from day to day, particularly in a sticky-hot summer haze.
    • 87 Metascore
    • 80 Guy Lodge
    Good One
    Collias impresses in a role that doesn’t grant her any great extremes of expression. Sam’s temperate demeanor may simply be her nature, but Collias’s tautly wired performance shows how it’s also a defense.
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