Lee Marshall

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Screen Daily
For 229 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

Lee Marshall's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Dogman
Lowest review score: 20 The Painted Bird
Score distribution:
  1. Positive: 165 out of 229
  2. Mixed: 62 out of 229
  3. Negative: 2 out of 229
229 movie reviews
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    • 93 Metascore
    • 100 Lee Marshall
    Shoplifters
    Some of the credit must go to the stellar casting and performances. It’s difficult to single out one of the six actors in this alternative family unit as it’s a true ensemble display. But Kore-eda’s deft command of tone is a key factor too.
    • 75 Metascore
    • 70 Lee Marshall
    Capernaum
    If it doesn’t tie many (or any) of these thematic strands with a neat bow, that’s in the nature of a film that chooses raw dramatic power over narrative finesse.
    • tbd Metascore
    • 60 Lee Marshall
    Sofia
    It’s a small, worthy, film that works reasonably well, although there’s something a little too linear about its structure.
    • 88 Metascore
    • 90 Lee Marshall
    Long Day's Journey Into Night
    Those who have the patience to go with its ravishing flow will find ample rewards, as Long Day’s Journey is a beautiful, smoulderingly romantic film.
    • 51 Metascore
    • 50 Lee Marshall
    Girls of the Sun
    A mid-budget mis-fire after the director’s promising indie debut, Bang Gang, Girls of the Sun seems more concerned with staging sisterly bonding sessions amidst the rubble than in developing what might have been an intriguing story – about how war can reshuffle social and gender inequality.
    • 71 Metascore
    • 100 Lee Marshall
    Dogman
    Perhaps the most impressive thing about a hugely impressive exercise in directorial control is the fact that we come away from an intensely violent film, a film where bones crunch and blood smells, touched by pathos and a strange sense of hope.
    • 71 Metascore
    • 70 Lee Marshall
    Arctic
    There’s plenty to admire in this trim, nearly dialogue-free 97-minute drama, not least Mads Mikkelsen’s raw performance as a downed airman waiting for rescue in the Arctic wastes, and the widescreen majesty of the Icelandic landscapes that stand in for the film’s polar setting.
    • 61 Metascore
    • 50 Lee Marshall
    Until the Birds Return
    There’s an observational authenticity that is refreshing in an audiovisual culture whose attempts at self-analysis are too often skewed by melodrama. It’s also heartening to see such delicate stories of ordinary people come to the fore in a country whose filmmakers faces enormous hurdles; technical, financial and bureaucratic.
    • 68 Metascore
    • 80 Lee Marshall
    The Desert Bride
    A film that is a small delight, a perfect cinematic short story.
    • 65 Metascore
    • 70 Lee Marshall
    Bye Bye Germany
    A little too jaunty and picaresque at times, Bye Bye Germany is nevertheless, when it hits its stride, an entertaining, watchable take on the oppressed-minority-comeback genre (“We’re the Jewish revenge”, as one of the salesmen bitterly quips), shadowed at every turn by an unspeakable horror.
    • 88 Metascore
    • 90 Lee Marshall
    Sweet Country
    One of the many pleasures of this understated drama is its slow-burn magnetism and lack of flashy genre posturing.
    • 55 Metascore
    • 70 Lee Marshall
    Cinderella the Cat
    Gatta Cenerentola is on one level a noirish spin on a popular fable, but its real resonance derives from its stimulating contribution to a long-running dialogue...about the good creative and evil destructive demons that pull southern Italy’s largest city alternately towards hope and despair.
    • 73 Metascore
    • 70 Lee Marshall
    The Rape of Recy Taylor
    An enquiry into the brutal rape of a black woman in 1944 Alabama broadens into an alternative, female-gaze civil rights documentary in Nancy Buirski’s latest.
    • 77 Metascore
    • 90 Lee Marshall
    Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    It makes for powerful and stimulating viewing whether or not a game is being played with viewers.
    • 69 Metascore
    • 70 Lee Marshall
    Our Souls at Night
    There’s an air of well-oiled, made-for-TV efficiency about the exercise that extends from Lunchbox director Ritesh Batra’s safe hand on the tiller to Stephen Goldblatt’s golden-light photography.
    • 91 Metascore
    • 70 Lee Marshall
    EX LIBRIS: The New York Public Library
    Shot and edited with Wiseman’s customary poetry and precision, Ex Libris is structured as a series of forays from the Library’s Fifth Avenue heart to its orbiting satellites, and back again.
    • 77 Metascore
    • 70 Lee Marshall
    Human Flow
    This sprawling, meandering compendium of dispossessed people in transit is a profoundly human film, a heartfelt call to empathy, but also something of a politicised nature documentary.
    • 64 Metascore
    • 70 Lee Marshall
    Downsizing
    There’s something for everyone in Downsizing - just not a full meal.
    • 59 Metascore
    • 50 Lee Marshall
    Amnesia
    This plodding drama, centring on the friendship between a young German DJ and an ageing expatriate, never shakes the dust off the pages.
    • 53 Metascore
    • 70 Lee Marshall
    The Journey
    Although it breaks no new ground, there’s heart, humour, charm and even a little healthy mischief in a film that re-imagines the rapprochement between the two former foes.
    • 50 Metascore
    • 70 Lee Marshall
    How to Talk to Girls at Parties
    How To Talk To Girls at Parties shouldn’t work, as it feels at times like a film made by a talented student collective who overheard a ‘punk vs aliens’ elevator pitch. But work it does: it’s all a bit mad, but ultimately rather moving.
    • 72 Metascore
    • 70 Lee Marshall
    Happy End
    Haneke’s magisterial control of tone, actor and shot is not to be underestimated: there are scenes of quiet, nuanced authority and menace here that, true to form, compel our attention with their glacial brilliance.
    • 78 Metascore
    • 70 Lee Marshall
    A Gentle Creature
    A Gentle Creature is a grim state-of-the-nation fable, a bitter mix of tragedy, farce and road movie soaked in the bleak sardonic spirit of Gogol and Dostoyevsky, not to mention gallons of vodka.
    • 73 Metascore
    • 80 Lee Marshall
    The Square
    In all its flawed brilliance, The Square remains an original, visceral, uncomfortable and essential viewing experience.
    • 72 Metascore
    • 70 Lee Marshall
    Blade of the Immortal
    Miike is on fine form, never losing his sense of humour, or sense of character, even as yet another axe is embedded in yet another skull.
    • 81 Metascore
    • 70 Lee Marshall
    Truman
    A genuine, likeable, loose-limbed buddy dramedy about impending death.
    • 45 Metascore
    • 50 Lee Marshall
    Brimstone
    What’s lacking here, mostly, is a clarity of vision and control of tone that would give this prestige Euro-Western’s mannerisms a focus.
    • 62 Metascore
    • 80 Lee Marshall
    The Young Karl Marx
    A spry romp through the seven years leading up to the drafting of the Communist Manifesto, Raoul Peck’s biopic of Karl Marx’s early years feels like a mix between a prestige BBC drama and a Marx For Dummies primer.
    • 75 Metascore
    • 60 Lee Marshall
    Félicité
    Undemonstrative but at the same time oddly compelling - rather like its eponymous main character - Felicité is a challenging, perhaps overlong, but also quietly resonant slice of new African cinema.
    • 57 Metascore
    • 50 Lee Marshall
    The Dinner
    In Moverman’s hands, it becomes a contemporary American fable about savagery lurking behind civilised facades, about class and racial divisions in a country that calls itself united, and about ethical vacuums in a connected, online society. It’s also an unbalanced, uneven ride, a distracting hot and cold shower of intense scenes featuring four terrific actors and long, meandering passages of flashback filler.
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