Guy Lodge

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Time Out, Time Out London, Variety
For 956 reviews, this critic has graded:
  • 54% higher than the average critic
  • 5% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 2.5 points higher than other critics. (0-100 point scale)

Guy Lodge's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Dawn of the Planet of the Apes
Lowest review score: 0 The Murder of Nicole Brown Simpson
Score distribution:
  1. Positive: 590 out of 956
  2. Mixed: 322 out of 956
  3. Negative: 44 out of 956
956 movie reviews
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    • 48 Metascore
    • 50 Guy Lodge
    King of Thieves
    As the film slackens its pace and shifts awkwardly from caper mode to sober moral deliberations, its one-note characters can’t quite carry it.
    • tbd Metascore
    • 70 Guy Lodge
    St. Bernard Syndicate
    A wily left turn into narrative filmmaking for celebrated docmaker Mads Brügger (“The Red Chapel”), St. Bernard Syndicate deftly extends the dry satirical streak of his non-fiction work into a more heightened vein of farce; rarefied cult status awaits.
    • tbd Metascore
    • 50 Guy Lodge
    Swing Kids
    A brash, busy and often bizarre genre mashup from South Korean blockbuster merchant Kang Hyeong-Cheol, this far-fetched tale of an African-American G.I. finding terpsichorean kinship with a group of Asian misfits in a POW camp brings a bit of “Footloose”-style pep to an otherwise bloodily solemn anti-war tragedy.
    • 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.
    • 53 Metascore
    • 70 Guy Lodge
    Dumplin'
    Indeed, from its unpatronizing body-positive messaging to its restrained, tactful faith-based concessions (a given with Parton on board), Dumplin' has been so carefully calculated, it’s a wonder it plays as warmly and sincerely as it does.
    • 78 Metascore
    • 80 Guy Lodge
    The Charmer
    Alami and Ingeborg Topsøe’s finely whittled screenplay plays its revelations patiently, putting a lot of early trust in their leading man’s powers of silent implication and the serene foreboding of Sophia Olsson’s charcoal-streaked cinematography.
    • 70 Metascore
    • 80 Guy Lodge
    Of Fathers and Sons
    The result is as despairing as any portrait of close-knit family and dedicated parenthood can be, adeptly blending sensationalism with domestic intimacy, and sincerely eye-opening in its portrayal of inherited Islamist fervor.
    • 77 Metascore
    • 80 Guy Lodge
    The Last Race
    This graceful, ruminative fragment of scrap-metal Americana marks a distinguished foray into feature filmmaking for renowned narrative photographer Dweck.
    • 75 Metascore
    • 80 Guy Lodge
    Stan & Ollie
    The film’s confidence falters only when it transposes the hapless slapstick of the duo’s screen act to their everyday reality. If a couple of labored gags around hauling luggage don’t fully land, that rather proves how much more art went into Laurel and Hardy’s craft than they ever chose to let on.
    • 63 Metascore
    • 70 Guy Lodge
    Chef Flynn
    it’s as an ambiguous study of parenting a prodigy that the film lingers on the palate, as McGarry’s mother Meg documents and manages his evolution to an obsessive, gradually oppressive degree.
    • 74 Metascore
    • 70 Guy Lodge
    Been So Long
    In the close, doting way the camera caresses its stars, Been So Long certainly shows where it chief strengths lie: Coel and Kene may both capably handle their songs, but the film’s real music is in their faces, singing, silent or otherwise.
    • 61 Metascore
    • 60 Guy Lodge
    Caniba
    How illuminating or challenging Caniba proves for viewers will depend on their amenability to Paravel and Castaing-Taylor’s amoral stance and literally up-in-your-face technique. Those who aren’t provoked by its ambiguous psychological inquiry, however, may wish for a bigger human picture from this relentlessly close-up exercise.
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