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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    • 60 Metascore
    • 70 Guy Lodge
    Dragged Across Concrete
    At a whopping 158 minutes, “Concrete’s” sleek, languorous anatomy of a heist represents the filmmaker’s most extreme exercise yet in painstaking genre deceleration, sparked as ever by the tangy movie-movie vernacular of his writing, the crunchy metal-on-asphalt dynamism of his craftsmanship, and the back-from-the-brink reanimation of his stars.
    • 74 Metascore
    • 70 Guy Lodge
    Scrapper
    Regan’s debut rehashes a host of familiar elements from assorted kitchen-sink dramas and dysfunctional parent-child stories, painting them colorfully enough that audiences won’t mind the odd bit of rust.
    • 59 Metascore
    • 70 Guy Lodge
    Siberia
    As a study of a rugged individualist looking back on long-withered connections — to others, to the mainstream world, and indeed to himself — it feels personally invested both as a star vehicle and an auteur piece. If it isn’t, the joke’s on us, and still pretty funny.
    • 56 Metascore
    • 70 Guy Lodge
    The Other Tom
    The film’s intimate scenes of mother-son discord are remarkable, played with raw, nerve-pushing testiness by two first-time actors.
    • 69 Metascore
    • 70 Guy Lodge
    Viva
    Viva appealingly makes up for a coy approach with gutsy, grabby follow-through on the high notes.
    • 44 Metascore
    • 70 Guy Lodge
    Wolf Creek 2
    Neither as striking nor as fundamentally scary as its predecessor, this pumped-up, robustly crafted pic is still quite a ride.
    • 51 Metascore
    • 70 Guy Lodge
    Broadway Idiot
    A straightforward account of the show’s journey from conception to rehearsal to Great White Way triumph, it effectively doubles as a traditional let’s-put-on-a-show musical in its own right, albeit one with heavier guitars.
    • 66 Metascore
    • 70 Guy Lodge
    Borgman
    A sly, insidious and intermittently hilarious domestic thriller.
    • 61 Metascore
    • 70 Guy Lodge
    Coup!
    This is quick, nippy entertainment that raises plenty of sociopolitical talking points without digging too deep into any of them.
    • tbd Metascore
    • 70 Guy Lodge
    Serpent's Path
    Kiyoshi Kurosawa, not unlike Hitchcock, is the kind of tireless genre craftsman who seems to approach every feature as a test of his own proficiency: Serpent’s Path, a brisk, harsh and, yes, clinically professional update of his own 1998 thriller of the same title, passes said test without a moment’s strain.
    • 74 Metascore
    • 70 Guy Lodge
    Pin Cushion
    Cinematically, Pin Cushion goes all in on a heightened, macramé-and-macaroons aesthetic that occasionally smothers the rawer nerves of its storytelling.
    • 78 Metascore
    • 70 Guy Lodge
    Luzzu
    An honest, affecting slab of working-class portraiture, altogether bracing with its thorny labor politics and salty sea air.
    • 67 Metascore
    • 70 Guy Lodge
    Mr. X
    Alluring if not especially illuminating.
    • 67 Metascore
    • 70 Guy Lodge
    The Sapphires
    Soul music’s alleged redemptive powers are fully at work in this jumbled, sketchily written but vastly appealing true-life musical comedy.
    • 69 Metascore
    • 70 Guy Lodge
    Our Souls at Night
    It’s hard to deny that the small screen may be the most natural fit for Batra’s film, given its pleasantly mollified storytelling and blandly unassuming visual style.
    • 64 Metascore
    • 70 Guy Lodge
    Bombay Rose
    Indeed, there’s such an abundance of labored-over beauty in Bombay Rose that it feels almost churlish to say its storytelling is less enrapturing: Rao, who animated, edited and wrote the film on her own, seems to be least assured on the last of those tasks.
    • 57 Metascore
    • 70 Guy Lodge
    Memoir of War
    Large as its historical canvas is, the film is most artful as an interior evocation of a preemptively grieving state of mind.
    • 58 Metascore
    • 70 Guy Lodge
    A Royal Night Out
    Julian Jarrold’s brightly performed exercise in speculative history scores as a frothier, more feminine bookend to “The King’s Speech” — though it’s no less engaging or accomplished.
    • 72 Metascore
    • 70 Guy Lodge
    Bobi Wine: The People's President
    That current of feeling and conviction is what powers the doc through some uneven construction.
    • 60 Metascore
    • 70 Guy Lodge
    Matthias & Maxime
    It feels at once younger and older, sweeter and more seasoned, than Dolan’s last few films.... [It's] not out to scout new stylistic territory, but confident in the turf it covers, often gorgeously so.
    • 65 Metascore
    • 70 Guy Lodge
    Widow Clicquot
    Widow Clicquot certainly makes a virtue of its milieu and rolling landscape, richly shot throughout in dusky earth tones, and more substantively, of the rather romantic lore surrounding the widow in question.
    • 73 Metascore
    • 70 Guy Lodge
    The Adults
    The Adults is most moving in its understanding of the trivial quips, asides and slight, splintered anecdotes that are sometimes all that remains between adult relatives who once shared richer connective tissue.
    • 59 Metascore
    • 70 Guy Lodge
    Peaky Blinders: The Immortal Man
    "The Immortal Man” serves as a handsome reminder of what always felt quite cinematic about the series — both in its beefy-but-pulpy storytelling and its robust, well-patinated production values.
    • 75 Metascore
    • 70 Guy Lodge
    The Sower
    The resulting film is so delicately wrought and exquisitely visualized that the harsher, eerier details of Ailhaud’s account stand out all the more strikingly, like a shot of vinegar in a pristine crème caramel.
    • 68 Metascore
    • 70 Guy Lodge
    Ghost Stories
    There’s the phantom of a psychothriller for the ages inside “Ghost Stories” that never quite fights its way out of the film’s tightly structured creepshow homage, but the goosebumps it raises are real, and honestly earned.
    • 53 Metascore
    • 70 Guy Lodge
    The Amazing Spider-Man 2
    Redundancy remains a problem, but this overlong superhero sequel gets by on sound, fury and star chemistry.
    • 59 Metascore
    • 70 Guy Lodge
    Absolutely Fabulous: The Movie
    Sometimes bloody good fun is enough. It’s as good a reason as any for making this sunny, silly rallying cry for irresponsibility, and a better one still for watching it.
    • 61 Metascore
    • 70 Guy Lodge
    Brides
    Clearly inspired by cases like that of Shamima Begum, the London teen who traveled in secret to Syria to become an ISIS bride, Nadia Fall‘s debut feature seems on the surface like a hot-button provocation, but it’s surprisingly humane and good-humored in its attempt to understand the individual lives behind a sensational headline issue.
    • 68 Metascore
    • 70 Guy Lodge
    In the Basement
    Grabby and grubby in equal measure, this meticulously composed trawl through the contents of several middle-class Austrians’ cellars (a space, according to Seidl, that his countrymen traditionally give over to their most personal hobbies) yields more than a few startling discoveries.
    • 60 Metascore
    • 70 Guy Lodge
    Sisi & I
    There’s a elastic, enjoyable restlessness to all this behind-closed-court-doors bustle and bitchery, recalling less the sparse, close-up character interrogation of “Corsage” than the snippy gamesmanship of “The Favourite,” buoyed by the itchy friction between Hüller’s anxious, aspirational energy and Wolff’s cool, complacent hauteur.
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