Guy Lodge

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Time Out, Time Out London, Variety
For 926 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: 572 out of 926
  2. Mixed: 310 out of 926
  3. Negative: 44 out of 926
926 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.
    • 94 Metascore
    • 90 Guy Lodge
    Inside the Yellow Cocoon Shell
    This is challenging but seductive art cinema that invites comparisons to such titans as Apichatpong Weerasethakul, Tsai Ming-liang and even Theo Angelopoulos, without feeling derivative of any.
    • 94 Metascore
    • 100 Guy Lodge
    Blue Heron
    Sophy Romvari‘s graceful, singularly heartsore debut feature has a sharp understanding of how memories form and age: Often it’s the incidental, ambient details you recall as vividly as the more significant events at hand.
    • 93 Metascore
    • 100 Guy Lodge
    Toni Erdmann
    The film takes precisely as much time as it needs for its muddled, maddeningly human characters, played with extraordinary courage and invention by Peter Simonischek and Sandra Hüller, to find their way into each other, and so into themselves.
    • 93 Metascore
    • 90 Guy Lodge
    No Other Land
    Given the conditions of its production, No Other Land would be vital even in a more ragged form. But the filmmaking here is tight and considered, with nimble editing (by the directors themselves) that captures the sense of time at once passing and looping back on itself.
    • 92 Metascore
    • 100 Guy Lodge
    Remake
    Remake is extraordinarily clear-eyed for a work so broken-hearted: at once a home movie, an intimate diary and an expansive study of the filmmaker’s purpose, constantly disrupting its own conclusions with expressions of anger, amusement and still-unresolved confusion.
    • 92 Metascore
    • 100 Guy Lodge
    The Souvenir
    Achingly well-observed in its study of a young artist inspired, derailed and finally strengthened by a toxic relationship, it is at once the coming-of-age story of many women and a specific creative manifesto for one of modern British cinema’s most singular writer-directors.
    • 92 Metascore
    • 100 Guy Lodge
    The Look of Silence
    So involving is the raw content of The Look of Silence that some might view its formal elegance as mere luxury, yet the film reveals Oppenheimer to be a documentary stylist of evolving grace and sophistication.
    • 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.
    • 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.
    • 91 Metascore
    • 80 Guy Lodge
    Graves Without a Name
    Sudden surges of emotion seem to guide its shuffling of symbols, techniques and points of view.
    • 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.
    • 91 Metascore
    • 80 Guy Lodge
    Stories We Tell
    The alternately playful and elegiac Stories We Tell is wholly of a piece with her fiction work, and just as rewarding.
    • 91 Metascore
    • 90 Guy Lodge
    They Shall Not Grow Old
    if They Shall Not Grow Old is head-spinning for its jolting animation of creakily shot battle scenes — tricked out with ingeniously integrated sound editing and seamlessly retimed from 13 frames a second to 24 — its greatest revelation isn’t one of sound and fury. Rather, it’s the film’s faces that stick longest in the mind.
    • 91 Metascore
    • 90 Guy Lodge
    This Is Not a Burial, It's a Resurrection
    A haunted, unsentimental paean to land and its physical containment of community and ancestry — all endangered by nominally progressive infrastructure — this arresting third feature from Lesotho-born writer-director Lemohang Jeremiah Mosese is as classical in theme as it is adventurous in presentation.
    • 91 Metascore
    • 100 Guy Lodge
    Over the Limit
    The intense abuse captured in Marta Prus’s brilliant, diamond-hard documentary portrait of a Russian rhythmic gymnast’s punishing road to the 2016 Olympics is all too vividly real — just watching it induces veritable stomach cramps, though it’s impossible to turn away from the film’s whipcrack construction and expert manipulation of perspective.
    • 91 Metascore
    • 90 Guy Lodge
    La Chimera
    [Rohrwacher] offers all her earthly and otherworldly preoccupations in scattered, bejeweled fragments, for us to gather and assemble and interpret — and doesn’t much mind if some pieces stay buried.
    • 91 Metascore
    • 90 Guy Lodge
    The Worst Person in the World
    In essaying Julie, a character at once watery and opaque, shaped by everything around her but vocally resistant to influence, Reinsve has a tricky assignment that she nails with remarkable fluidity and grace.
    • 90 Metascore
    • 100 Guy Lodge
    I Called Him Morgan
    It’s fitting that Kasper Collin’s excellent documentary I Called Him Morgan, a sleek, sorrowful elegy for the prodigiously gifted, tragically slain bop trumpeter Lee Morgan, is as much a visual and textural triumph as it is a gripping feat of reportage.
    • 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.
    • 90 Metascore
    • 100 Guy Lodge
    Blue Is the Warmest Color
    Nothing about the film’s coming-of-age narrative, nor the rise and fall of its core romance, is intrinsically new or daring, yet Kechiche’s freewheeling perspective on young desire is uncommon in its emotional maturity.
    • 90 Metascore
    • 100 Guy Lodge
    The Souvenir: Part II
    Though fully distinct in its thematic and aesthetic fixations, The Souvenir Part II abuts its predecessor to form one of the medium’s most intimate, expressive portraits of the artist as a young woman — a mirror tilted just enough away from the filmmaker that the audience, too, can catch itself in the glass.
    • 90 Metascore
    • 100 Guy Lodge
    Sound of Falling
    No finer point of craft, performance or poetic nuance has been rushed or neglected in a film that ultimately sounds a warning against the dimming or blunting or de-specification of memory — not just for oneself, but for communities or lineages with more shared stories than they might think, but an inclination to clam up and carry on.
    • 90 Metascore
    • 90 Guy Lodge
    Cold War
    Cold War may return to “Ida’s” meticulous monochrome aesthetic of “Ida,” but it’s a companion piece with its own tonal and structural energy: less emotionally immediate, perhaps, but immersively informed by the broken jazz rhythms beloved of its protagonist.
    • 90 Metascore
    • 80 Guy Lodge
    American Hustle
    Ultimately story is secondary to Russell’s delicious detailing of character and milieu.
    • 73 Metascore
    • 80 Guy Lodge
    The Silence of Others
    Robert Bahar and Almudena Carracedo’s straightforward but emotionally acute documentary works as both a thorough history lesson and a work of contemporary activism.
    • 89 Metascore
    • 90 Guy Lodge
    Scheme Birds
    Superb ... An alternately lyrical and gut-punching coming-of-age study.
    • 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.
    • 89 Metascore
    • 100 Guy Lodge
    For Sama
    Simple in concept and shattering in execution, blending hard-headed reportage with unguarded personal testimony, it’s you-are-there cinema of the most literal order.
    • 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.
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