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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    • 95 Metascore
    • 90 Guy Lodge
    Aftersun
    Aftersun thus works elegantly as a kind of dual coming-of-age study, perfectly served by Mescal’s signature brand of softboi gentleness — here shown maturing and creasing into more hardened, troubled masculinity — and the vitality of Corio, whose deft, lovely performance braids both authentic exuberance and a girlishness that feels more performed, as if for the benefit of her dad.
    • 86 Metascore
    • 80 Guy Lodge
    One Fine Morning
    It knows the fragility of quiet, which is sometimes the sound of inner peace, and sometimes, per that Prévert poem, the echoing unrest of an empty space.
    • 64 Metascore
    • 80 Guy Lodge
    Digger
    In this witty, windblown modern fable, man, nature and machine get to take turns being the enemy and the savior.
    • 59 Metascore
    • 60 Guy Lodge
    All My Puny Sorrows
    As a portrait of sisterly trust, obligation and estrangement, and the difficulty of carrying familial dependencies into adulthood and beyond, the film is measured and thoughtful, lifted by performances of characteristic sensitivity by Alison Pill and Sarah Gadon.
    • 73 Metascore
    • 50 Guy Lodge
    Anaïs in Love
    Some might wonder what Anaïs in Love really has to say for itself; the film, perhaps, objects to the idea of young women like its cheerfully confused heroine having to explain themselves at all. Either way, this zephyr-blown dandelion of a movie isn’t going to break a sweat to get its message across.
    • 78 Metascore
    • 80 Guy Lodge
    The Earth Is Blue as an Orange
    It’s when the film’s natural and metatextual components overlap and disrupt each other that The Earth Is Blue as an Orange is most arresting.
    • 89 Metascore
    • 90 Guy Lodge
    La Mami
    Amid its textured, occasionally conflict-scarred portrait of female community, La Mami is rife with sharp, tacit socioeconomic criticism of an unequal, patriarchal society in which making joyless business out of pleasure is the best hope many women have.
    • 65 Metascore
    • 60 Guy Lodge
    The Rose Maker
    Pierre Pinaud’s short but unhurried film benefits immensely from the warmly flinty presence of Catherine Frot (“Marguerite”) in the lead, lending a sense of purpose and personality to a character without much color on the page.
    • 64 Metascore
    • 60 Guy Lodge
    The Bad Guys
    Cheery and diverting as The Bad Guys is, it has all the emotional weight of a few crisp, stolen Benjamins.
    • 74 Metascore
    • 80 Guy Lodge
    You Are Not My Mother
    Steeped in local folklore, it lets mythic and mind-based terrors exist side by side, allowing the viewer to interpret and believe what they will. This leeway comes at no cost, however, to its effective atmospherics, which sink into the bones like an unexpected twilight chill.
    • 64 Metascore
    • 80 Guy Lodge
    How to Survive a Pandemic
    Smart, humane and gripping even as it rakes over events all too fresh in our memories, How to Survive a Pandemic ends with plenty yet to be discussed and explored: It provides a road map to survival, but doesn’t suggest we’ve all made it just yet.
    • 52 Metascore
    • 70 Guy Lodge
    Windfall
    Blending the oddball sensibility of McDowell and regular co-writer Justin Lader with the nastier genre smarts of “Se7en” scribe Andrew Kevin Walker, this low-key Netflix holds to its intriguing promise for a crisp 90 minutes, though even its climax is muted by design.
    • 48 Metascore
    • 40 Guy Lodge
    Gold
    As a lone drifter guarding a precious quarry in deadly desert conditions in a faintly futuristic nowhereland, [Efron's] good, as anyone’s who been paying attention should expect. Beyond that, it’s a somewhat arid exercise.
    • 81 Metascore
    • 80 Guy Lodge
    After Love
    Spare and pared-back in all respects ranging from performance to its clean, airily-lensed aesthetic, After Love carries bulky baggage with an elegant lightness, leaving its audience with further unpacking to do.
    • 28 Metascore
    • 50 Guy Lodge
    Mother Schmuckers
    The Guits’ provocation is about as amiable as something so abjectly appalling can be, though it’s perhaps a few jaw-dropping shocks (or a few uproarious belly-laughs) short of the cult status it seeks.
    • 78 Metascore
    • 80 Guy Lodge
    Servants
    Servants is briskly shaped at just under 80 minutes, yet its alien-historical world-building is effective enough that you emerge from it feeling both out of time and out of breath: Any longer, and all humanity would bleed out of this earthly-but-ethereal conspiracy drama entirely.
    • 51 Metascore
    • 50 Guy Lodge
    Taurus
    This is about as valiantly unflattering as vanity projects get. The bad news is that the wispily tragic character of “Cole,” his alienated, self-destructive but wildly popular alter ego, hardly seems worth Baker’s extensive efforts.
    • 83 Metascore
    • 80 Guy Lodge
    The Novelist's Film
    Ultimately, The Novelist’s Film defends the idea of drift and hiatus, of time spent idling to hear your own thoughts, in their own sweet time.
    • 85 Metascore
    • 90 Guy Lodge
    Alcarràs
    The film balances a bristling political conscience against its tenderly observed domestic drama.
    • 50 Metascore
    • 50 Guy Lodge
    Nobody's Hero
    Moonlighting as a broad bedroom farce, this heavily plotted but oddly low-energy film winds up too distracted and diluted to score as a vital political satire.
    • 73 Metascore
    • 80 Guy Lodge
    Both Sides of the Blade
    Denis’ latest sees her applying her usual rigorous form and psychological curiosity to material that tends to inspire more generic directorial treatment, teasing out a rich, nuanced exploration of female desire from the fault lines of an ostensibly simple narrative.
    • 59 Metascore
    • 40 Guy Lodge
    The Pact
    This well-dressed midcentury period piece keeps teasing a darker, more perverse take on a familiar story of cross-generational creative mentorship. Yet despite a performance of unnerving severity by Birthe Neumann as the rancorous Blixen, the film remains too polite and light on incident to deliver on that promise.
    • 90 Metascore
    • 90 Guy Lodge
    Procession
    Procession is, in its own elegant and uneasy way, an inspiring film, idealistically invested in cinema itself as a medium for confession, confrontation and self-expression, not least when Greene hands over the camera to other filmmakers in need of its power.
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