Kim Hughes

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Original-Cin
For 168 reviews, this critic has graded:
  • 77% higher than the average critic
  • 3% same as the average critic
  • 20% lower than the average critic
On average, this critic grades 12.7 points higher than other critics. (0-100 point scale)

Kim Hughes' Scores

  • Movies
  • TV
Average review score: 78
Highest review score: 100 The Drama
Lowest review score: 25 Night School
Score distribution:
  1. Positive: 140 out of 168
  2. Mixed: 26 out of 168
  3. Negative: 2 out of 168
168 movie reviews
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    • 90 Metascore
    • 100 Kim Hughes
    Sorry, Baby
    Sorry, Baby, the feature debut of American writer-director Eva Victor, who also stars, is a clear announcement of an original new talent able to create highly inventive visuals with a limited budget. It is also a terrific — and sad and funny and contemplative — testimony about how trauma profoundly stains people’s lives, with far-reaching and unpredictable outcomes.
    • 89 Metascore
    • 100 Kim Hughes
    Gunda
    Even those resistant to Gunda’s vegetarian message would be hard-pressed to describe these creatures cavalierly having witnessed these exquisitely framed, highly meditative moments. We see life within these beings, and we witness their undeniable will to live. And it’s beautiful. Gunda is truly one of a kind.
    • 87 Metascore
    • 100 Kim Hughes
    Can You Ever Forgive Me?
    McCarthy’s talent is towering and yet so few roles (excluding SNL appearances which feature dozens) really leverage her versatility. Can You Ever Forgive Me? gives platform to it all — funny but nihilistic, bleak, sardonic, knowing — with McCarthy disappearing and something else rising in her place.
    • 87 Metascore
    • 83 Kim Hughes
    The Velvet Underground
    It may not be quite as thrilling as Edgar Wright’s brilliant The Sparks Brothers, which had the benefit of two still-living, sharp-as-tacks protagonists to interview, but it’s a must-see for fans and a highly interesting two hours for music junkies.
    • 67 Metascore
    • 75 Kim Hughes
    Chevalier
    In its eagerness to correct past wrongs and set the story straight, the film feels weirdly rigid, narratively predictable, and occasionally overstated.
    • 85 Metascore
    • 100 Kim Hughes
    Identifying Features
    Beautifully shot and terribly sad, with a wildly twitchy score ratcheting up the tension, the Mexican drama Identifying Features is a profound statement about maternal love, brutal inequality, and institutional corruption.
    • 84 Metascore
    • 100 Kim Hughes
    Black Conflux
    When the creepy conflux of the title occurs, it’s terrifying because its conclusion is unforeseeable. Like life you might say: impossible to predict but nevertheless captivating.
    • 84 Metascore
    • 100 Kim Hughes
    Booksmart
    The high school rite-of-passage film canon may have been raided here but its thieves — screenwriters Susanna Fogel, Emily Halpern, Sarah Haskins, and Katie Silberman, doubtless abetted by producers Will Ferrell and Adam McKay — have wrung every drop of weird, contradictory, and squeamish fun out of the teenage experience.
    • 62 Metascore
    • 67 Kim Hughes
    The Children Act
    Credit the towering talents of Emma Thompson and Stanley Tucci with redeeming The Children Act, a film oddly thin on story despite coming from the marvelous Ian McEwan, who adapted his own novel for the screen but somehow failed to capture the surge of the source material.
    • 83 Metascore
    • 83 Kim Hughes
    Turning Red
    Not even its rather silly ending can undermine its heart.
    • 83 Metascore
    • 100 Kim Hughes
    The Cave
    The Cave may be the saddest, most infuriating chronicle of the ghastly ravages of war on a country’s most vulnerable citizens —children — ever made.
    • 83 Metascore
    • 75 Kim Hughes
    The Territory
    The story it tells — of environmental assault, mistreatment of Indigenous people, corrupt government and business — is woefully familiar. But the brutality of it all never ceases to amaze.
    • 82 Metascore
    • 83 Kim Hughes
    The Killing of Two Lovers
    The starkly lit and shot film is a gently paced family drama about a collapsing marriage which, come to think of it, merits its horror-story veneer even if it is something of a red herring.
    • 77 Metascore
    • 100 Kim Hughes
    The Mustang
    Quiet, understated and unforgettable, The Mustang is a winner by five lengths.
    • 82 Metascore
    • 83 Kim Hughes
    C'mon C'mon
    Those ambivalent towards children may find the film positively tedious. Those in tune with its up-close storytelling and gentle pace may find much to enjoy.
    • 82 Metascore
    • 83 Kim Hughes
    The Climb
    Strong performances abound while sly and sometimes slapstick comedy lightens the more intense themes of betrayal and vengeance.
    • 81 Metascore
    • 83 Kim Hughes
    Mass
    A sad, poignant, dialogue-driven film destined for successful post-film life as a theatre production, writer/director Fran Kranz’s debut about two sets of parents on opposing sides of a tragedy locates the humanity in the seemingly endless, peculiarly American saga of school shootings. It also celebrates forgiveness.
    • 51 Metascore
    • 75 Kim Hughes
    A Man Called Otto
    The film chronicles suicide in a surprisingly forthright and unflinching way, and it takes an unexpectedly long time to reach its foregone conclusion. Still, Otto’s sweet, sentimental tone is not unwelcomed in the depths of a winter dogged by troublesome headlines on all fronts.
    • 80 Metascore
    • 67 Kim Hughes
    Barbie
    Let’s cut to the chase: Barbie is the greatest advertisement of all time. As a thrilling, escapist summertime movie? Yeah, no.
    • 80 Metascore
    • 100 Kim Hughes
    Wild Rose
    Wild Rose may not be what the summer season typically delivers to cinemas, but audiences miss it at their peril.
    • tbd Metascore
    • 83 Kim Hughes
    Suze
    A shamelessly feel-good movie buoyed by dynamic, lived-in performances, Suze offers emotional rewards far grander than its simple story might suggest. And it’s an honest pleasure to watch.
    • 79 Metascore
    • 100 Kim Hughes
    How to Have Sex
    The title is titillating enough to grab young ears. Yet the story at its core — about three college-age British women looking for thrills on holiday in Crete but instead finding some hard truths — would surely prompt discussion about consent, optics, and forethought that should be happening everywhere all the time and not just among women.
    • 61 Metascore
    • 100 Kim Hughes
    Rosaline
    Rosaline is a delight from start to finish, a brisk, bright-eyed, and inventive romantic comedy with constituent parts that probably shouldn’t work this well together but do.
    • 79 Metascore
    • 83 Kim Hughes
    The Assistant
    A compact drama with outsize emotional heft, The Assistant is propelled as much by what it doesn’t show as what it does.
    • 79 Metascore
    • 67 Kim Hughes
    One to One: John & Yoko
    One to One does the couple a disservice, being too fragmented and random to declaratively or persuasively elevate them as cultural visionaries despite featuring abundant never-before-seen material and newly restored footage. Strictly for fans of Lennon/Ono or very deep 1970s nostalgia.
    • 78 Metascore
    • 91 Kim Hughes
    Gloria Bell
    For a film where relatively little happens plot-wise, Gloria Bell is oddly beguiling thanks to its leads: Moore (reliably great) embracing every square-peg aspect of her character and Turturro, whose resting look — itchy, perplexed, possibly lost — is deployed with precision in a character meant to be wildly uncomfortable in his own skin.
    • 78 Metascore
    • 100 Kim Hughes
    1917
    It’s impossible to overstate the immersive feel and psychological sway of 1917; Mendes inhabits those god-forsaken trenches in ways that are palpable, bringing the stink, filth, claustrophobia, and gallows humour to bear with stunning resonance.
    • 77 Metascore
    • 100 Kim Hughes
    Jockey
    American drama Jockey is superb, the perfect confluence of a great story expertly directed, with outstanding performances, stunning cinematography, and a dazzling score.
    • 77 Metascore
    • 67 Kim Hughes
    Better Man
    On one hand, its chief conceit is commendably weird: the adult Williams is played by Jonno Davies as a chimpanzee filmed in motion capture, conjured with CGI to humanoid effect, and voiced by its subject. Daring! Yet its story follows a ho-hum biopic trajectory structurally indistinguishable from recent entries such as Rocketman and Bohemian Rhapsody.
    • 76 Metascore
    • 100 Kim Hughes
    Islands
    For a film where not a lot happens, and what does happen happens very slowly, Islands is strangely gripping. That could be the hypnotic effect of its endlessly sun-drenched Canary Island setting, as writer-director Jan-Ole Gerster dips his audience in the languorous pace of a holiday destination in this low-boil psychological drama.
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