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
    • 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.
    • 77 Metascore
    • 90 Guy Lodge
    Mother of George
    Simply relating the narrative of Andrew Dosunmu’s seductive immigrant drama Mother of George would do little to convey the film’s stark, poetic power, much less its extraordinary visual and sonic acumen.
    • 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.
    • 86 Metascore
    • 90 Guy Lodge
    Dreamcatcher
    Conventionally constructed but remarkable for the honest, intimate rapport it achieves with highly vulnerable human subjects.
    • 76 Metascore
    • 90 Guy Lodge
    Actress
    Robert Greene's extraordinary collaboration with actress Brandy Burre is a playful, provocative examination of self-performance.
    • tbd Metascore
    • 90 Guy Lodge
    Better Go Mad in the Wild
    Theirs is an outwardly simple life made complex with yearnings, resentments and impossible dreams: equally mythic and mundane, as presented in Miro Remo‘s wonderfully sui generis portrait Better Go Mad in the Wild.
    • 91 Metascore
    • 90 Guy Lodge
    Drive My Car
    Hamaguchi’s filmmaking, always accomplished, reaches new heights of refinement and sensory richness here, principally via Shinomiya’s immaculate, opaline lensing.
    • 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.
    • 91 Metascore
    • 90 Guy Lodge
    The Echo
    Examining the unique ties that bind farming families, where everyone’s welfare hangs on the same unkind elements, this exquisitely textured film observes how children’s lives echo those of their parents, repeating for generations on the same constantly inconstant land, until somebody breaks the pattern.
    • 73 Metascore
    • 90 Guy Lodge
    From Afar
    Looking, not touching, is the act of choice for a sexually wary gay man in From Afar, and his hands-off approach is shared by the expert storytelling in Venezuelan helmer Lorenzo Vigas’ pristinely poised but deeply felt debut feature.
    • 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
    • 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.
    • 86 Metascore
    • 90 Guy Lodge
    Happening
    Happening is filmed and performed in such a delicate, skin-soft register, meanwhile, that the escalating terror of Anne’s situation is all the more pronounced, eventually pivoting into a realm of wholly realism-based body horror.
    • 83 Metascore
    • 90 Guy Lodge
    Saint Maud
    Skirting easy cynicism to view fire, brimstone and occasional grace through Maud’s awestruck eyes, this is finally as much a sympathetic character study, a mental heath mind-map, as it is any kind of chiller. Whatever the case, it’s one hell of a debut for Rose Glass.
    • 77 Metascore
    • 90 Guy Lodge
    The Nightingale
    Kent’s elemental revenge tale attains a near-mythic grandeur over the course of its arduous, ravishing trek. Some stricter editing wouldn’t go amiss, particularly in a needlessly baggy, to-and-fro finale, but it’s a pretty magnificent mass of movie.
    • 85 Metascore
    • 90 Guy Lodge
    The Taste of Things
    Food is the subject, the objective and the driving motor of this scantly plotted but utterly captivating love story.
    • 74 Metascore
    • 90 Guy Lodge
    Motel Destino
    As an erotic thriller, it’s more preoccupied with the first half of that term than the second, and that’s just fine.
    • 85 Metascore
    • 90 Guy Lodge
    Honeyland
    The opening frames of Honeyland are so rustically sumptuous that you wonder, for a second, if they’ve somehow been art-directed.
    • 83 Metascore
    • 90 Guy Lodge
    Love
    Love’s commentary on modern relations may be more complex and chewy than just “live and let live,” but the film’s calm embrace of whatever works for the individual is refreshingly humane, rhetorically exciting and more than a little hot.
    • 80 Metascore
    • 90 Guy Lodge
    Introducing, Selma Blair
    Rachel Fleit’s film Introducing, Selma Blair is eye-opening and empathetic — but it’s also intensely moving as a documentary in its own right, enriched by a human subject who appears to learn as much about herself in the course of filming as we do.
    • 84 Metascore
    • 90 Guy Lodge
    McQueen
    Itself crafted with great artistry and ingenuity, McQueen works both as a spectacular visual album of his work and an achingly moving account of the incomplete life behind it.
    • 80 Metascore
    • 90 Guy Lodge
    Children of the Mist
    It’s an auspicious arrival for first-time feature director Diem, who handles delicate subject matter (not to mention vulnerable human subjects) with a frankness that stops short of button-pushing. That tact is crucial in a film operating as both close-quarters character study and wider ethnographic portrait, offering a rare, dedicated view of Vietnam’s little-represented Hmong population.
    • 82 Metascore
    • 90 Guy Lodge
    Black Box Diaries
    Without undue manipulation or sentimentality, Black Box Diaries pulls viewers’ emotions in sharp extremes that mirror the peaks and valleys of this hard-fought five-year case.
    • 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.
    • 74 Metascore
    • 90 Guy Lodge
    Beans
    Beans is a thoughtful, stirring reflection by someone who survived it all, quietly demanding acknowledgement not just of her land, but of her life.
    • 78 Metascore
    • 90 Guy Lodge
    Beach Rats
    Writer-director Eliza Hittman has a sensitive ear for the way adolescents reveal themselves through evasion: It’s a tension crucial to this anxious, tactile, profoundly sad study of a young man’s journey of sexual self-discovery and self-betrayal.
    • 76 Metascore
    • 90 Guy Lodge
    Lady Macbeth
    An impressively stark, narratively ruthless Victorian chamber piece that feels about as modern as its crinolines will permit, William Oldroyd’s pristine debut feature slowly reveals a violent moral ambiguity that needles the mind far longer than its polite period-piece trappings suggest.
    • 74 Metascore
    • 80 Guy Lodge
    Mandibles
    Mandibles is as brazenly and riotously stupid as it sounds, but with a chill, dopey sweetness that makes it stick.
    • 76 Metascore
    • 80 Guy Lodge
    The Currents
    This is impressively composed, searching high-art cinema, elevated by its meticulous, silkily textured formal construction
    • 63 Metascore
    • 80 Guy Lodge
    Fingernails
    A love story hinging on human chemistry as a disruptive force would fall to pieces if its stars didn’t have that very unquantifiable quiver of static between them. But Buckley and Ahmed play off each other exquisitely, gradually reflecting each other in motion and mien, each looking at the other with the kind of facially centered full-body want that no amount of dialogue can convey on its own.
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