Lillian Crawford

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Empire, Little White Lies
For 35 reviews, this critic has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Lillian Crawford's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Bergman Island
Lowest review score: 20 Greatest Days
Score distribution:
  1. Positive: 23 out of 35
  2. Mixed: 10 out of 35
  3. Negative: 2 out of 35
35 movie reviews
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    • 62 Metascore
    • 80 Lillian Crawford
    The Devil Wears Prada 2
    Make no mistake – The Devil Wears Prada 2 scratches every itch a legacy sequel ought, with callbacks and cameos and jokes galore. But if the first film is Tom Ford and Calvin Klein then this time it’s Vivienne Westwood and Alexander McQueen – less slick, and with something darker underneath.
    • 61 Metascore
    • 40 Lillian Crawford
    Nuremberg
    Vanderbilt seems to have his intentions in the right place, but the delivery has all the substance of Crowe’s prosthetic belly.
    • 77 Metascore
    • 90 Lillian Crawford
    Maestro
    Maestro is a film to be swept along by, as heady and bombastic as a golden-age Hollywood musical.
    • 82 Metascore
    • 80 Lillian Crawford
    The Holdovers
    The trio’s company is so embracing that it is hard to say goodbye. The benefit of the Yuletide setting is that Payne has gifted us a film intended to be watched every year. It feels like finding an unwatched classic under the tree on Christmas morning.
    • 68 Metascore
    • 40 Lillian Crawford
    Leave the World Behind
    A starry trio and suspenseful filmmaking can’t save this apocalyptic thriller from collapsing on itself.
    • 45 Metascore
    • 70 Lillian Crawford
    Doctor Jekyll
    It looks like Hammer has returned from the dead.
    • 82 Metascore
    • 100 Lillian Crawford
    Taylor Swift: The Eras Tour
    It is profoundly moving to see someone be so open with her audience, the meaning of her lyrics taking on new resonance since first writing them. And we were there, we remember it all.
    • 62 Metascore
    • 60 Lillian Crawford
    The Lesson
    McCormack, Grant and Delpy waltz with flair in this stylish if unoriginal slow-burn thriller. Best consumed with a large glass of red wine and one’s tongue in one’s cheek.
    • 47 Metascore
    • 20 Lillian Crawford
    Greatest Days
    It’s hard to imagine that any Take That fan would rather listen to badly autotuned covers of their favourite songs than the original recordings. Just hope that someday soon this will all be someone else’s (bad) dream.
    • 50 Metascore
    • 40 Lillian Crawford
    La Syndicaliste
    Salomé is not an imaginative director, apparently content to sit back and watch Huppert command the film with little regard for the rest of his cast and crew.
    • 32 Metascore
    • 60 Lillian Crawford
    Love Again
    It takes courage and ingenuity to find the modern romcom formula within the operas of Gluck, sung well through SMS by Heughan and Chopra Jonas. It also stars Celine Dion.
    • 58 Metascore
    • 40 Lillian Crawford
    Brainwashed: Sex-Camera-Power
    Menkes is in such a rush to get through the history of cinema to point a finger of blame at everyone except herself, ending with her own films as examples of a negation of the gaze. Nobody’s perfect.
    • 79 Metascore
    • 80 Lillian Crawford
    The Three Musketeers - Part I: D'Artagnan
    Dumas’s classic novel finally gets an epic adaptation worthy of its scope, rendered in delicious French by its dangerously sexy cast. Gird your buckles because they’re about to get swashed.
    • 71 Metascore
    • 70 Lillian Crawford
    The Wonder
    It’s a refreshing return to naturalistic form for Pugh following her recent blockbuster run, relishing in the multi-layered gowns designed by Odile Dicks-Mireaux. But The Wonder is most captivating in its look.
    • 80 Metascore
    • 100 Lillian Crawford
    Bergman Island
    Rather than an attempt at directorial mimicry, Bergman Island is a unique vision from one of the greatest directors working today.
    • 78 Metascore
    • 70 Lillian Crawford
    We're All Going to the World's Fair
    Cobb is excellent at toeing the lines between calm and unhinged, often fluctuating between them and never really settling on either.
    • 89 Metascore
    • 80 Lillian Crawford
    Great Freedom
    While other men move through then out of the picture, Rogowski holds everything together with an exquisite deftness that is often emotionally overwhelming.
    • 78 Metascore
    • 80 Lillian Crawford
    Ryuichi Sakamoto: Coda
    By exploring his passions and drives, Schible has given meaning beyond the surface to Sakamoto’s music. It makes for fascinating viewing, and even more beautiful listening.
    • 91 Metascore
    • 100 Lillian Crawford
    EX LIBRIS: The New York Public Library
    It is undeniably a magnum opus, but one that has been refined to the briskness of a novella.
    • 81 Metascore
    • 70 Lillian Crawford
    Summer 1993
    Nothing much happens in Summer 1993, and yet everything changes.
    • 75 Metascore
    • 70 Lillian Crawford
    Under The Wire
    Moments of real desperation in human faces reveal why journalists risk death to report in Syria and beyond, providing a timely reflection on the power of documentary footage. A pity, then, that Martin does not leave their story to stand for itself.
    • 75 Metascore
    • 80 Lillian Crawford
    The Kindergarten Teacher
    Perhaps we are never driven to indignation at Lisa’s actions because the film exudes a refreshing state of calm, boasting a visual style that is awash with turquoise hues.
    • 85 Metascore
    • 60 Lillian Crawford
    Honeyland
    Brief and to the point, Honeyland proves more meditative than its premise suggests.
    • 65 Metascore
    • 80 Lillian Crawford
    Pinocchio
    While its success outside Italy remains to be seen, del Toro and Zemeckis will have to pull a lot of strings to better Garrone.
    • 69 Metascore
    • 80 Lillian Crawford
    Papicha
    It’s the greatest asset of Papicha that it condemns without being dogmatic, showing its central conflict to be more complicated than Western audiences might otherwise believe.
    • 79 Metascore
    • 90 Lillian Crawford
    An Easy Girl
    An Easy Girl reads not as the male sexual frustration of the Nouvelle Vague, but as a celebration of women’s sexual agency.
    • 81 Metascore
    • 90 Lillian Crawford
    She Dies Tomorrow
    It’s not a journey for the faint of heart.
    • 58 Metascore
    • 60 Lillian Crawford
    Hope Gap
    Hope Gap doesn’t go as deep into questions of love and loss as Nicholson’s 1993 screenplay for the CS Lewis biopic Shadowlands, but it benefits from the focus on an adult son, for whom the end of his parents’ marriage is shown to be just as hard to accept as it would be for a young child.
    • 80 Metascore
    • 80 Lillian Crawford
    Little Girl
    Sasha’s parents are inspiring in their determination to give their daughter the childhood every girl her age deserves.
    • 45 Metascore
    • 50 Lillian Crawford
    23 Walks
    Maybe not quite enough to warm a sceptic’s heart, but certainly a pleasant enough outing for your nan.
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