James Mottram

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NME, Radio Times, South China Morning Post, Total Film
For 305 reviews, this critic has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

James Mottram's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Whitney
Lowest review score: 20 The New Mutants
Score distribution:
  1. Positive: 166 out of 305
  2. Mixed: 131 out of 305
  3. Negative: 8 out of 305
305 movie reviews
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    • 46 Metascore
    • 80 James Mottram
    Sin City: A Dame To Kill For
    Not as groundbreaking as the original, nor as expansive as all the best sequels are. But with some excellent cast additions, and Miller on murky form, this still sizzles to the touch.
    • 67 Metascore
    • 60 James Mottram
    Korengal
    It’s absorbing to a point, but adds little to what’s gone before.
    • 39 Metascore
    • 40 James Mottram
    The Other Woman
    A few lowbrow laughs… but far too many one-note characters, performances, and plot points to make them worth showing up for.
    • 85 Metascore
    • 80 James Mottram
    Ilo Ilo
    As their early fights give way to growing respect, it’s a beautifully calibrated relationship, with small moments gradually building into something much bigger. A gem.
    • 48 Metascore
    • 60 James Mottram
    Divergent
    Loyal to the novel, but welcoming enough for newbies, Divergent does a decent if not jawdropping job of bringing its dystopian world to life.
    • 63 Metascore
    • 80 James Mottram
    Young & Beautiful
    Ozon keeps the melodrama at bay to deliver a typically subversive study of growing pains. And in Vacth he’s found a real star-in-waiting.
    • 67 Metascore
    • 60 James Mottram
    Tom at the Farm
    It’s wildly melodramatic, typified by the ear-assaulting score. But there’s something compelling about Dolan’s supreme self-confidence, even when misplaced. He takes risks – and that’s attractive.
    • 55 Metascore
    • 60 James Mottram
    Dom Hemingway
    Shepard’s film is fun but forgettable in the first hour, then disappointing in the final third. But Law’s raucous turn keeps you watching.
    • 75 Metascore
    • 60 James Mottram
    Suzanne
    Quillévéré’s elliptical plot isn’t always spot-on, skipping years to a near maddening degree. But treading a fine line between poetry and realism, it’s still heartfelt and harrowing.
    • 39 Metascore
    • 40 James Mottram
    Need For Speed
    The cars are hot, the action is decent, but the characters and plot need a serious tune-up.
    • 56 Metascore
    • 40 James Mottram
    Non-Stop
    A nifty lift-off and a tense first hour lead us, disappointingly, to a very bumpy landing. While Neeson and co. do their best, the script just doesn’t deliver where it really matters.
    • 49 Metascore
    • 60 James Mottram
    Love Is in the Air
    Sagnier is appealing in her first real romantic role and there’s Gallic charm galore.
    • 31 Metascore
    • 40 James Mottram
    Charlie Countryman
    Mostly, this is empty, ugly and pretentious.
    • 69 Metascore
    • 80 James Mottram
    Bastards
    Denis’ sparse story delivers details on a need-to-know basis, right up to the finale. Strong on atmos, thanks to Tindersticks’ score, it’ll chill you to the core.
    • 36 Metascore
    • 80 James Mottram
    That Awkward Moment
    Gormican’s script is the film’s big strength; the dialogue fizzes while the set-pieces pay off handsomely.
    • 40 Metascore
    • 40 James Mottram
    Flu
    The result? Not so much "World War Z" as World War Zzzz.
    • 54 Metascore
    • 60 James Mottram
    Anton Corbijn Inside Out
    It’s not groundbreaking, but the impressionistic approach at least strives for more than your standard-issue bio.
    • 59 Metascore
    • 60 James Mottram
    Milius
    [A] memorable, conventional account of a true maverick.
    • 96 Metascore
    • 100 James Mottram
    Gravity
    A stunning space saga that takes off for new technical frontiers without leaving its humanity behind.
    • 77 Metascore
    • 80 James Mottram
    Seduced and Abandoned
    Maverick director James Toback (Fingers) and Alec Baldwin front this frequently hilarious insider doc.
    • 54 Metascore
    • 40 James Mottram
    Jackass Presents: Bad Grandpa
    Most of the gags fall flatter than a Knoxville belly-flop.
    • 78 Metascore
    • 60 James Mottram
    Enough Said
    Assured, adult filmmaking from a writer/director who knows her way around the ups and downs of relationships.
    • 73 Metascore
    • 80 James Mottram
    Le Week-End
    The result? An accomplished, bittersweet drama that's more bitter than sweet.
    • 56 Metascore
    • 80 James Mottram
    Filth
    With McAvoy acting as if his life depends on it, Filth is the Irvine Welsh film we’ve been waiting years for. Tastier than a deep-fried Mars Bar.
    • 74 Metascore
    • 100 James Mottram
    Rush
    Utterly gripping. Aided by two punchy lead turns, an Oscar-worthy script and stunning in-car footage, Howard’s race film delivers top-gear drama. A piston- and heart-pumping triumph.
    • 81 Metascore
    • 80 James Mottram
    Gimme the Loot
    Full of ear-pleasing lines and obscure R&B tunes, it’s colourful, casual and full of flavour. An unexpected treat.
    • 74 Metascore
    • 80 James Mottram
    What Maisie Knew
    Capturing the essence of the source novel, this is a superior adult drama. Harrowing, heartbreaking but utterly compelling.
    • 68 Metascore
    • 80 James Mottram
    The Way, Way Back
    If the Collette/Carell reunion suggests Little Miss Sunshine, it’s not quite that crowd-pleasing. But, crafted with much TLC and sympathy, it’s perfectly tailored to the tongue-tied teen in us all.
    • 45 Metascore
    • 60 James Mottram
    Pain & Gain
    Like all of Bay’s work, it’s over-the-top, brash and exhausting to watch. But like the lifestyle its characters aspire to, there’s an allure too.
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