Ian Freer

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Empire, Time Out
For 391 reviews, this critic has graded:
  • 49% higher than the average critic
  • 5% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Ian Freer's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Imitation of Life
Lowest review score: 20 Police Academy 6: City Under Siege
Score distribution:
  1. Positive: 191 out of 391
  2. Mixed: 196 out of 391
  3. Negative: 4 out of 391
391 movie reviews
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    • 48 Metascore
    • 60 Ian Freer
    Liam Gallagher: As It Was
    Liam Gallagher: As It Was lacks the narrative shape and drama of previous Oasis doc Supersonic, but provides an interesting snapshot of an artist in transition, both professionally and personally.
    • 81 Metascore
    • 80 Ian Freer
    Make Up
    Claire Oakley has created a vivid sensory experience out of limited means. Make Up is anything but cosmetic — it gets right under the skin.
    • 81 Metascore
    • 80 Ian Freer
    Duel
    A made-for-TV movie that proved so remarkable it received a theatrical release (first in Europe, then 10 years later in the US), Spielberg's calling card is as distinctive a piece of visual storytelling as you're ever likely to see.
    • 81 Metascore
    • 80 Ian Freer
    The Dissident
    The Dissident explodes genres by combining them, equal parts political analysis, murder investigation, cyber thriller and paean to free speech. It also celebrates the life of late journalist Jamal Khashoggi, who tirelessly gave a voice to the voiceless. 
    • 81 Metascore
    • 80 Ian Freer
    Riders of Justice
    Riders Of Justice is an oddball delight. Taking a leaf from the Coens’ playbook, it’s by turns ultra-violent then drily funny and surprisingly wise. Come for Mikkelsen, stay for his winning band of lovable losers.
    • 54 Metascore
    • 40 Ian Freer
    The Racer
    There is some nice insight into cycling-team practices, but overall The Racer lacks sufficient nuance, specificity and originality to nab the yellow jersey.
    • 81 Metascore
    • 80 Ian Freer
    The Dog Who Wouldn't Be Quiet
    A low-key treat about rising above the slings and arrows of outrageous fortune, The Dog Who Wouldn’t Be Quiet is something to shout about.
    • 81 Metascore
    • 80 Ian Freer
    The Nest
    Filled with both passive aggression and aggressive aggression, The Nest has the trappings of a haunted-house movie but delivers something much scarier — the slow death of a marriage, performed to perfection by Jude Law and Carrie Coon.
    • 81 Metascore
    • 80 Ian Freer
    The Chambermaid
    The Chambermaid is a poignant portrait of one of life’s have-nots, sensitively played by Cartol as a woman slowly sinking into non-existence.
    • 81 Metascore
    • 80 Ian Freer
    Explorer
    If it adds little in the way of dissenting voices or a different viewpoint, Explorer tells the tale of a remarkable, stranger-than-fiction life and emerges as an affecting, entertaining portrait of a true eccentric.
    • 81 Metascore
    • 80 Ian Freer
    Ray & Liz
    Ray & Liz is undoubtedly a difficult watch, a searing portrait of a family that has come apart at the seams. But, creating an astute sense of atmosphere and detail that come together to make meaning, Richard Billingham marks himself out as a filmmaker to watch.
    • 80 Metascore
    • 80 Ian Freer
    Western Stars
    Western Stars is not only a concert film presenting 13 Springsteen bangers, plus one great cover. Showcasing his charisma, wit, thoughtfulness and vulnerability, it emerges as a telling portrait of one of music’s modern greats.
    • 47 Metascore
    • 40 Ian Freer
    Midway
    Midway is a big, bold, brazen attempt to detail one of World War II’s most significant moments. But in a post Saving Private Ryan-Dunkirk landscape, it feels astonishing anyone is still making war movies like this.
    • 80 Metascore
    • 80 Ian Freer
    The Martian
    Anchored by another great turn from Matt Damon, The Martian mixes smarts, laughs, weird character bits and tension on a huge canvas. The result is Scott’s most purely enjoyable film for ages.
    • 80 Metascore
    • 80 Ian Freer
    Nowhere Special
    Hugely affecting and perfectly played, Nowhere Special is a peach of a picture.
    • 80 Metascore
    • 80 Ian Freer
    Coup 53
    Part political drama, part history lesson, part gripping spy thriller, Coup 53 gives what has been relegated to a small footnote in Iran’s story the big, expansive, dramatic treatment it deserves.
    • 80 Metascore
    • 80 Ian Freer
    Totally Under Control
    An early entry into documenting Covid-19, Totally Under Control doesn’t have all the answers, but it is a vital, powerful examination of how one political administration could get something so wrong by ignoring the experts.
    • 80 Metascore
    • 80 Ian Freer
    Love & Mercy
    This is the film Brian Wilson’s talent deserves: original, smart and affecting.
    • 80 Metascore
    • 80 Ian Freer
    A Hidden Life
    If you don’t like Malick’s movies, A Hidden Life won’t convert you. But this is the filmmaker on sublime form, putting his artistry and obsessions at the service of something frighteningly relevant.
    • 80 Metascore
    • 80 Ian Freer
    Bergman Island
    Just missing out on top-tier Hansen-Løve, Bergman Island is beautifully played — especially by Krieps and Wasikowska — and retains all the hallmarks of her best work; an intelligent, personal, heartfelt treat.
    • 80 Metascore
    • 80 Ian Freer
    A Beautiful Day in the Neighborhood
    It could easily be twee twaddle, but A Beautiful Day In The Neighborhood is a nuanced, formally playful delight, a perfectly pitched and played ode to goodness. All hail Marielle Heller.
    • 80 Metascore
    • 80 Ian Freer
    The Other Side of the Wind
    Orson Welles’ final film is an infuriating, brilliant, personal sign off, filled with stunning images, wit and bravura to spare. In short it’s everything you hoped it would be.
    • 63 Metascore
    • 60 Ian Freer
    Rocky Balboa
    If you hear the Rocky theme and think '118 118', you might wonder what all the fuss is about. For the rest of us, this is a reminder of why we fell in love with the character in the first place.
    • 79 Metascore
    • 100 Ian Freer
    Mank
    Shot in stunning black-and-white, Mank delivers Hollywood in a multitude of greys. Built on a towering performance by Gary Oldman, it’s smart, sophisticated, by turns thrilling and difficult, and amongst Fincher’s best.
    • 79 Metascore
    • 80 Ian Freer
    Silence
    Less showy than The Last Temptation Of Christ, more gripping than Kundun, the third part of Scorsese’s unofficial ‘religious’ trilogy is beautifully made, staggeringly ambitious and utterly compelling.
    • 79 Metascore
    • 80 Ian Freer
    Hitchcock/Truffaut
    A landmark film book gets its just deserts. The cleverly curated clips are stunning and the analysis thought-provoking in this richly rewarding piece.
    • 79 Metascore
    • 60 Ian Freer
    Petrov's Flu
    By turns impressive and oppressive, Petrov’s Flu combines technical razzle-dazzle with obtuse storytelling. Bravura and baffling in equal measure.
    • 79 Metascore
    • 80 Ian Freer
    Monster
    Monster is Hirokazu Kore-eda channelling Christopher Nolan: twisty storytelling in the service of wise empathy. There is no judgement in Kore-eda’s worldview, just human behaviour in all its glorious complexity.
    • 79 Metascore
    • 80 Ian Freer
    Poltergeist
    There are inconsistencies — why does a brand new house have the standard creaking door? — but the pace is so compelling that it is impossible to carp.
    • 79 Metascore
    • 80 Ian Freer
    Let the Sunshine In
    With its moody heroine, sex and reliance on talk it would be easy/stupid to dismiss Let The Sunshine In as oh so French, but Claire Denis’ most conventionally entertaining film is a delight. And it’s yet another reminder Juliette Binoche is an international treasure who should be cherished.
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