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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    • 69 Metascore
    • 90 Guy Lodge
    Diciannove
    Tortorici evidently remembers that disorienting sense of being released (or perhaps abandoned) into the world before you’ve quite found yourself; if you don’t, his funny, nervy, aptly unformed film will give you quivery flashbacks. It’s an auspicious arrival for both the filmmaker and his intense, mercurial young star Manfredi Marini, who holds the camera with the guilelessness of a newcomer and the ease of a natural.
    • 69 Metascore
    • 70 Guy Lodge
    The Deepest Breath
    As a pure adrenaline-rush experience, however, The Deepest Breath is hard to argue with, coming closer than might seem possible to conveying the exhilaration and/or terror of descending further than the length of a football field into infinite aqua.
    • 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.
    • 69 Metascore
    • 70 Guy Lodge
    Man Up
    The upshot of this loopy masquerade is more predictable than it is progressive, but considerably pleasurable thanks to Morris’s generous supply of pithy one-liners and the resourceful, ribald skills of Bell, as engaging and elastic a comic everywoman here as she was in her impressive directorial debut “In a World … ”
    • 69 Metascore
    • 60 Guy Lodge
    Dayveon
    The more Dayveon attempts to up the dramatic and moral stakes of its narrative, the less persuasive it is as idiosyncratic, indigenous storytelling.
    • 69 Metascore
    • 70 Guy Lodge
    22 July
    It’s intelligently stern, storm-gray filmmaking, as we’ve come to expect from Greengrass; if it feels a bit mechanical as well, perhaps this is a near-impossible story to film with both tact and soul.
    • 51 Metascore
    • 60 Guy Lodge
    Half of a Yellow Sun
    The rare prestige pic that could actually stand to be longer.
    • 69 Metascore
    • 90 Guy Lodge
    The Pink Cloud
    Gerbase’s thoughtful, precise little film would have marked an impressive enough arrival under normal circumstances. As it is, it might endure as more era-evocative than many of the intentional pandemic dramas to come.
    • 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.
    • 68 Metascore
    • 70 Guy Lodge
    Paper Spiders
    What begins as a wry tale of a maturing family in bittersweet flux spirals unpredictably into a study of living with extreme mental illness, as experienced by both the afflicted and their gradually alienated nearest and dearest.
    • 68 Metascore
    • 70 Guy Lodge
    Mr. Jones
    As drama, Mr. Jones sometimes struggles to get out of its own way, but its message still lands with concrete force.
    • 68 Metascore
    • 70 Guy Lodge
    Song of Granite
    Pat Collins’ echoing, elegiac evocation of the spirit of Irish sean nós singer Joe Heaney is most interested in his haunted vocal gift, letting the troubled life that weathered it show through only in glimmers between the gorgeous songs.
    • 68 Metascore
    • 80 Guy Lodge
    Unclenching the Fists
    A frenzied vocal tone and wild, untethered physicality connects all the performances, with every character seemingly eager to burst out of their own body, and by extension, the life in which it’s stranded.
    • 68 Metascore
    • 70 Guy Lodge
    Sembene!
    Utilitarian in construction but personally invested, it’s a duly humble career overview that doesn’t risk much individual interpretation of such rich, essential films as “Black Girl,” “Xala” and “Moolaade” — though it should leave viewers eager to make (or regain) their acquaintance.
    • 68 Metascore
    • 80 Guy Lodge
    Everything Went Fine
    This elegantly written, persuasively performed drama finds the ever-unpredictable Ozon in his plainest, most pragmatic gear as a filmmaker.
    • 68 Metascore
    • 70 Guy Lodge
    Out Stealing Horses
    This is a film with a mature, heartbroken understanding of how we hold onto things.
    • 68 Metascore
    • 80 Guy Lodge
    The East
    The film keeps its good-evil borders compellingly supple, at least until a wobbly finale that requires Sarah to act like the Hollywood heroine she has so strenuously avoided becoming. It’s a minor blot on a film otherwise propulsively alive with prickly politics.
    • 68 Metascore
    • 90 Guy Lodge
    Fire in the Blood
    Though the film comprehensively details the political and economic subtleties of what it declares “the crime of the century,” its narrative remains primarily a human-focused one, highlighting the stories of selected steadfast victims, as well as the heroic movers and shakers in the struggle.
    • 68 Metascore
    • 80 Guy Lodge
    If You Don't, I Will
    Distinguished by exquisite performances from Emmanuelle Devos and Mathieu Amalric as a bourgeois couple unsure when to call time on their marriage, the pic initially follows the dry, droll template set by so many tasteful French relationship dramedies, before venturing into less comforting emotional territory for its final act.
    • 86 Metascore
    • 90 Guy Lodge
    Divine Love
    The new age of Brazilian protest cinema begins here, and “Divine Love” has kicked it off in dancing shoes.
    • 66 Metascore
    • 80 Guy Lodge
    Instinct
    For anyone who’s forgotten the extent of van Houten’s skill set, actress-turned-filmmaker Halina Reijn’s impressive, icily disciplined debut feature Instinct provides a fearsome reminder.
    • 68 Metascore
    • 60 Guy Lodge
    Everybody Loves Touda
    The film holds back from showing us Touda’s soul in its chaotic, capricious entirety — her life as a single mother, in particular, is rather sketchily drawn — and remains most fixated on her in performance mode, where’s she’s fully in her power.
    • 68 Metascore
    • 80 Guy Lodge
    Harvest
    Tsangari’s vigorous, yeasty period piece occasionally loses the thread of its sprawling ensemble narrative, but transfixes as a whole-sackcloth immersion into another time and place.
    • 67 Metascore
    • 60 Guy Lodge
    Deep Cover
    It’s busier than it is funny, more frenetic than dynamic, but watchable enough.
    • 68 Metascore
    • 70 Guy Lodge
    True Things
    Harry Wootliff’s jaggedly grown-up psychological drama True Things thrives on the hot, tense chemistry between its two excellent leads: It’s what pulls the audience through an obstacle course of potentially implausible scenarios that instead ring stingingly true.
    • 68 Metascore
    • 70 Guy Lodge
    Chuck
    The film is most thoughtful, and sometimes even painful, as a study of the pitfalls (and pitiful rewards) of local celebrity.
    • 68 Metascore
    • 50 Guy Lodge
    The Childhood of a Leader
    A overweening, maddening but not inconsiderable directorial debut for actor Brady Corbet
    • 68 Metascore
    • 100 Guy Lodge
    American Animals
    This is unabashedly virtuoso, show-off filmmaking, as cocky as the misguided young men at the film’s center, who, at least for a period, saw their lives as a Hollywood romp in itself.
    • 68 Metascore
    • 70 Guy Lodge
    Language Lessons
    Films explicitly about the formation of friendships are rare, and Morales and Duplass have fashioned rather a perceptive one, adapting the push-pull dynamics of a romantic comedy to more delicate psychological terrain.
    • 68 Metascore
    • 70 Guy Lodge
    Two Pianos
    The melodrama begins at such a high pitch in Desplechin’s latest, you might think it has nowhere to go but down, yet this earnestly inflamed tale of art, grief, betrayal and all-consuming amour on steroids keeps finding new, hysterical ways to surprise.
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