Lovia Gyarkye

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The Hollywood Reporter, The New York Times
For 345 reviews, this critic has graded:
  • 48% higher than the average critic
  • 6% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Lovia Gyarkye's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Seeds
Lowest review score: 10 Madame Web
Score distribution:
  1. Positive: 211 out of 345
  2. Mixed: 127 out of 345
  3. Negative: 7 out of 345
345 movie reviews
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    • 52 Metascore
    • 60 Lovia Gyarkye
    Nobu
    Nobu is a straightforward and admiring portrait of its subject.
    • 40 Metascore
    • 50 Lovia Gyarkye
    The Astronaut
    With many strong elements, it’s frustrating when The Astronaut fumbles in the final stretch.
    • 38 Metascore
    • 60 Lovia Gyarkye
    The Pickup
    The film boasts a strong comic cast with Murphy, Davidson and Palmer at the lead. Their chemistry is naturally compelling, which helps us buy into their increasingly ridiculous situation.
    • 39 Metascore
    • 60 Lovia Gyarkye
    The Home
    Despite the care with which DeMonaco and his collaborators build dread, The Home only partially delivers on its frightening promises. The film suffers from uneven pacing, as it waits a touch too long to capitalize on the suspense it musters.
    • 49 Metascore
    • 50 Lovia Gyarkye
    Daniela Forever
    Vigalondo’s film has a compelling premise, but the story (he also wrote the screenplay) gets away from him, resulting in a film that never quite hits its stride.
    • 61 Metascore
    • 60 Lovia Gyarkye
    How to Train Your Dragon
    How to Train Your Dragon honors the charm of the original. I’s not an essential remake, but at least it’s not an offensive one.
    • 46 Metascore
    • 50 Lovia Gyarkye
    Honey Don't!
    Honey Don’t! is a better movie than Drive-Away Dolls thanks to an engaging whodunit plot, but it ultimately suffers from the same issues as its predecessor: The film feels like a series of gags with nowhere to go.
    • 52 Metascore
    • 50 Lovia Gyarkye
    Eleanor the Great
    The film lurches between comic set pieces and more dramatic beats, and while Johansson proves a competent helmer, it’s not enough to overcome some dizzying tonal imbalances.
    • 84 Metascore
    • 60 Lovia Gyarkye
    Sirât
    Ironically, Sirat gets muddled near the end. Although the last act is in many ways the liveliest — viewers will be jolted by a series of bleak twists — it’s also where Laxe relinquishes narrative coherence in the service of making his metaphors more literal.
    • 46 Metascore
    • 50 Lovia Gyarkye
    Rust
    The film is competently made and absorbing at times, but there’s a workaday quality that slows its momentum. It’s a handsomely made project, but a story about such a complicated set of characters should make us feel more strongly, and Rust struggles to accomplish that.
    • 52 Metascore
    • 60 Lovia Gyarkye
    G20
    Once the principal heroes and villains have been established and the perfunctory narrative throat-clearing is out of the way, G20 finds its groove as a solid popcorn action flick.
    • 65 Metascore
    • 50 Lovia Gyarkye
    The Rivals of Amziah King
    The problems with The Rivals of Amziah King emerge in the stitching, when Patterson (working with editor Patrick J. Smith) must turn a series of fine vignettes and memorable musical interludes into a coherent narrative.
    • 45 Metascore
    • 60 Lovia Gyarkye
    The Parenting
    The film, which bows on Max on March 13, is low on genuine scares, but it does boast an appealing cast, whose comic chops elevate the flick slightly above the standard streamer slush.
    • 62 Metascore
    • 50 Lovia Gyarkye
    The Actor
    The Actor can be fun to think about, but hard to stay connected to. Johnson’s film works on an intellectual level — batting around questions about how identity is constructed — but the director struggles to translate the stakes of those questions.
    • 42 Metascore
    • 50 Lovia Gyarkye
    Holland
    Holland boasts striking advancements in the director’s style and committed performances from Kidman, Macfadyen and Bernal, but these qualities can’t quite save a narrative fundamentally confused about its purpose.
    • 51 Metascore
    • 60 Lovia Gyarkye
    Death of a Unicorn
    With its ambitious gonzo premise, Death of a Unicorn starts off on strong footing, but it’s quickly apparent that the story doesn’t have that many places to go.
    • 58 Metascore
    • 60 Lovia Gyarkye
    The Accountant 2
    For the most part though, O’Connor’s direction is disciplined. He wrings humor from nearly every moment by staging action scenes as blunt as Christian’s commentary and employing transitions as precise as the accountant’s aim.
    • 54 Metascore
    • 60 Lovia Gyarkye
    Another Simple Favor
    In reviving one of the more toxic friendships in recent movie history, Feig reunites two stars whose chemistry makes this twisty, often very ridiculous and sometimes trying movie more compelling.
    • 57 Metascore
    • 50 Lovia Gyarkye
    The Gorge
    Derrickson offers a handful of memorable shots and genuine jump scares, but the director’s attempts to build dread in these moments come too late to have their intended impact. With so much of the film dedicated to establishing Levi and Drasa’s backstory and their romance, The Gorge is slow to get going on the action.
    • 38 Metascore
    • 40 Lovia Gyarkye
    Bubble & Squeak
    This gonzo premise doesn’t have anywhere else to go, and to compensate, Twohy pads the screenplay with quirky antics that tax viewer patience and expose a narrative thinness that’s hard to ignore.
    • 38 Metascore
    • 40 Lovia Gyarkye
    Kinda Pregnant
    Kinda Pregnant doesn’t deliver on charming main characters nor sustainable humor. It’s a staid affair, coasting on its zany premise and a handful of amusing moments.
    • 79 Metascore
    • 60 Lovia Gyarkye
    Ricky
    Ricky struggles with underbaked narrative threads and breathless direction that can verge on unfocused.
    • 62 Metascore
    • 60 Lovia Gyarkye
    Love, Brooklyn
    The strengths of Love, Brooklyn make the weaknesses harder to shake. For every scene bursting with energy and texture, there are oddly vague moments that destabilize its hold on us.
    • 55 Metascore
    • 60 Lovia Gyarkye
    Bunnylovr
    Bunnylovr‘s strengths are in its engaging character study of a languid young woman who came of age online. It’s not a novel portrait, but Zhu makes it wholly her own.
    • 53 Metascore
    • 50 Lovia Gyarkye
    Atropia
    Gates offers an incredibly compelling premise, shedding light on the scale of military propaganda in the United States, but in taking on so much, her film ends up not saying enough.
    • 42 Metascore
    • 50 Lovia Gyarkye
    Opus
    Despite solid performances from Edebiri and Malkovich, Opus never takes off. It mostly meanders, relying on leaden expository monologues to move the plot, and rarely delivers on the promised horror of its atmosphere.
    • 56 Metascore
    • 50 Lovia Gyarkye
    Mufasa: The Lion King
    There are instances where you can see the director experimenting and attempting to disturb Disney’s imposing order, deploying close-ups, almost ground-level pans and strategically sweeping views to find warmth and tactility within a cold technique.
    • 58 Metascore
    • 60 Lovia Gyarkye
    Moana 2
    While the highly anticipated follow-up features stunning animation, it lacks the cohesive narrative and emotional intimacy that made its predecessor special.
    • 54 Metascore
    • 60 Lovia Gyarkye
    Spellbound
    The film flaunts vivid animation and some pretty striking moments, captured with close-ups and unexpected angles — but similar to Skydance Animation’s debut venture Luck, Spellbound inspires a sense of déjà vu.
    • 60 Metascore
    • 50 Lovia Gyarkye
    The Best Christmas Pageant Ever
    The Best Christmas Pageant Ever never quite lands its most poignant moments because Imogen and her siblings remain stubbornly at a distance.
    • 62 Metascore
    • 60 Lovia Gyarkye
    Goodrich
    We all know a feel-good ending is coming eventually. But more patience, and fewer clichés, might have made its emotions feel more earned.
    • 54 Metascore
    • 50 Lovia Gyarkye
    White Bird
    Forster’s steady direction keeps this thread of White Bird affecting even when it conforms to predictable narrative beats.
    • 47 Metascore
    • 50 Lovia Gyarkye
    Salem's Lot
    Salem’s Lot is a clipped horror that partially works thanks to a handful of assured performances and key style choices.
    • 49 Metascore
    • 60 Lovia Gyarkye
    Apartment 7A
    It’s not so much a prequel as it is a parallel story that continues underscoring the limited autonomy of women. Restrictive social mores trap both Rosemary and Terry, albeit in different ways.
    • 53 Metascore
    • 50 Lovia Gyarkye
    The Deb
    Wilson’s direction is similarly uneven, especially toward the middle of the film, which packs in convenient plot points to distract from narrative thinness. The result is off-kilter pacing that threatens to undo the film’s more successful parts.
    • 70 Metascore
    • 60 Lovia Gyarkye
    Relay
    The best parts of Relay harness the details of Ash’s brokerage. Mackenzie’s direction is never tighter than when he’s focused on message relays, burner phones and the bureaucracy of the post office.
    • 62 Metascore
    • 60 Lovia Gyarkye
    The Assessment
    At its best, The Assessment smartly taps into and maintains its focus on the near universal anxiety about parenting in a world made increasingly uninhabitable by overconsumption and climate change. But the film loses its way when it widens its scope and tries to incorporate eleventh-hour world-building.
    • 40 Metascore
    • 50 Lovia Gyarkye
    Without Blood
    Despite bursts of intelligence, especially when it comes to conveying the fractured quality of trauma narratives, Without Blood’s vagueness ends up blunting many of its lessons.
    • 56 Metascore
    • 60 Lovia Gyarkye
    Winner
    A perfectly agreeable, if limited, piece of work.
    • 63 Metascore
    • 60 Lovia Gyarkye
    Piece By Piece
    While inventive, Neville’s doc can’t quite avoid the trappings of the celebrity-produced biopic, and is expectedly marked by typical hagiographic evasiveness.
    • 39 Metascore
    • 40 Lovia Gyarkye
    The Deliverance
    [Daniels] desire to wrest explicit meaning out of the mother’s experience and corral viewers toward a single conclusion unwittingly places The Deliverance in mawkish and disappointingly cartoonish territory.
    • 55 Metascore
    • 60 Lovia Gyarkye
    The Supremes at Earl's All-You-Can-Eat
    It would all feel a little suffocating if it weren’t for the performances from the actresses who play both the younger and older Supremes. Their grounded portrayals make the stakes of The Supremes at Earl’s All-You-Can-Eat feel real, and the inevitable outcome seem earned; they anchor a film that might otherwise feel too wispy.
    • 53 Metascore
    • 50 Lovia Gyarkye
    It Ends with Us
    Without understanding more of Lily’s broader community or getting a stronger sense of how she navigates the relationship with Ryle, the film can feel too light and wispy to support the weight of its themes.
    • 52 Metascore
    • 50 Lovia Gyarkye
    Trap
    The film is a concert movie for Shyamalan’s daughter, the musician Saleka, wrapped in a middling thriller kept afloat by a compelling performance from Josh Hartnett.
    • 53 Metascore
    • 50 Lovia Gyarkye
    I’ll Be Your Mirror
    Bradley Rust Gray’s blood is a beautifully observed film that never arrives at its desired emotional destination.
    • 55 Metascore
    • 50 Lovia Gyarkye
    Close to You
    The film yearns to capture the stages of this emotional exhumation, but a clunky screenplay makes for a less affecting watch.
    • 66 Metascore
    • 60 Lovia Gyarkye
    The Imaginary
    For a film all about creative fancy, The Imaginary doesn’t always offer the kind of compelling moments one might expect. The fine animation can be blunted by a predilection for obvious exposition, dialogue that doesn’t stretch the imagination as much as it could.
    • 62 Metascore
    • 60 Lovia Gyarkye
    Young Woman and the Sea
    The overworked screenplay doesn’t strip the film of all its merits — there’s plenty here in terms of uplift and inspiration for most audiences — but it does make one wonder about a version of this project that embodied the fluidity Ederle felt in the water.
    • 65 Metascore
    • 60 Lovia Gyarkye
    Wild Diamond
    Wild Diamond features gorgeous and frank observations about influencer culture, but it struggles to assert itself narratively.
    • 73 Metascore
    • 60 Lovia Gyarkye
    Something You Said Last Night
    Something You Said Last Night testifies to its director’s dexterity with constructing subtly meaningful moments, but without more insight into its protagonist, the film can feel unintentionally impenetrable at times.
    • 67 Metascore
    • 60 Lovia Gyarkye
    The Idea of You
    The Idea of You functions best as a carefree treat — a feel-good romantic comedy that delivers some laughs and bursts with the magnetism of its lead. That it manages to wiggle in some lessons about self-discovery is merely a bonus.
    • 75 Metascore
    • 60 Lovia Gyarkye
    My Dead Friend Zoe
    The vigilance of the character building doesn’t translate to the narrative. The story at the center of My Dead Friend Zoe — a young woman suffering from PTSD and tasked with caring for her aging grandfather — is oddly unyielding, never relaxing enough to fully engage or move us.
    • 75 Metascore
    • 60 Lovia Gyarkye
    Civil War
    Garland has always been a director of big ideas, and Civil War is no exception when it comes to that ambitiousness. But he’s also reaching for an intimacy here that his screenplay doesn’t quite deliver on.
    • 57 Metascore
    • 60 Lovia Gyarkye
    Arcadian
    Most of Arcadian’s potential lies in its performances (including compelling turns from Martell and Soverall) and the design of the monsters.
    • 57 Metascore
    • 50 Lovia Gyarkye
    Immaculate
    Immaculate works best when it abandons its attempts to be a kind of surrealist portrait of Catholic terror and leans into the campy horror of B movies.
    • 49 Metascore
    • 50 Lovia Gyarkye
    Y2K
    Mooney eagerly mines the trove of Y2K cultural references to shape a narrative fine-tuned to a particular millennial sensibility, but struggles to meet the very low demands of its internal logic.
    • 46 Metascore
    • 50 Lovia Gyarkye
    Damsel
    Fresnadillo’s film puts on fewer airs of disruption than other versions of this story, so the narrative comes off as less self-satisfied. Still, it struggles to sustain an inspirational tenor.
    • 40 Metascore
    • 50 Lovia Gyarkye
    First Time Female Director
    The film begins to sag the deeper we get into Sam’s story, which requires more digging than Peretti can give us. The jokes are rarely the same, but they hit similar notes; the problems with the characters feel repetitive; and the movie circles the same ideas until plot points need to be tidied.
    • 79 Metascore
    • 60 Lovia Gyarkye
    Dune: Part Two
    Part Two is plagued by a nagging shallowness when it comes to portraying the Fremen, an indigenous people fighting for self-determination within the empire; the film has difficulty fully embracing the nuance of Herbert’s anti-imperial and ecologically dystopian text.
    • 58 Metascore
    • 40 Lovia Gyarkye
    Riddle of Fire
    Riddle of Fire tries to capture the extraordinary way kids experience the world, but the results border on twee.
    • 61 Metascore
    • 50 Lovia Gyarkye
    This Is Me…Now: A Love Story
    The film is not good, but it is singular — and absolutely chaotic.
    • 43 Metascore
    • 60 Lovia Gyarkye
    Bob Marley: One Love
    [Ben-Adir] wholly conjures Marley’s charisma while also teasing the musician’s sense of isolation, stemming from a childhood marked by abandonment. His compelling performance enlivens a film that otherwise feels like it’s perpetually struggling to take off.
    • 57 Metascore
    • 60 Lovia Gyarkye
    Little Death
    It tries to stretch the bounds of the narrative form, to upend convention and encourage us to rethink our relationship to storytelling. It aims to do all this with style — Begert’s direction is slick and capable — and absorbing performances from most of the cast. But Little Death can’t fulfill the ambitions of its intellectual exercise, resulting in a bifurcated film that doesn’t find its footing until the end.
    • 66 Metascore
    • 60 Lovia Gyarkye
    Sasquatch Sunset
    The Zellners’ fondness for wacky scenarios, the film’s unexpected turns and its deep appreciation for the natural world culminate in a project at once committed to a comedic bit that overstays its welcome and a somewhat poignant narrative competing for space and attention.
    • 40 Metascore
    • 50 Lovia Gyarkye
    Lift
    Lift doesn’t seem to trust viewers enough to withhold details. It’s too insecure, too eager, too anxious to be mysterious. Its tricks are not so much revealed as word-vomited through clunky exposition.
    • 42 Metascore
    • 50 Lovia Gyarkye
    Aquaman And The Lost Kingdom
    Momoa loosens up here, leaning into Arthur’s humor and teasing with something approaching depth by dialing up the cockiness. He plays well alongside Wilson’s severity and Abdul-Mateen makes a striking villain. But the film never surprises us by taking any serious risks. We always know its next move.
    • 47 Metascore
    • 40 Lovia Gyarkye
    Candy Cane Lane
    When it comes to holiday movies, Candy Cane Lane isn’t at the very bottom of the pack, but it’s far from the top. . . The narrative careens through uncompelling territory before ending on a forgettable note.
    • 47 Metascore
    • 50 Lovia Gyarkye
    Wish
    Even during its more successful moments, Wish’s magic falls flat. The film is weighed down by its purpose: to revel in Disney nostalgia while soaring into the future.
    • 58 Metascore
    • 50 Lovia Gyarkye
    Wicked Little Letters
    Wicked Little Letters swerves between comedy and tragedy without ever hitting its stride. The movie is at its best when it doesn’t strain to turn every moment into a joke, instead letting the story breathe a bit.
    • 50 Metascore
    • 60 Lovia Gyarkye
    It Lives Inside
    The potency of It Lives Inside — and why it might be worth checking out even if it isn’t wholly satisfying — lies in how it introduces Sam and Tamira’s relationship and links it to Hindu lore.
    • 62 Metascore
    • 60 Lovia Gyarkye
    Lee
    Kuras’ film is competent, polished and awards-ready. And while that all makes for a fine viewing experience, the movie also feels at odds with its subject — a restless woman whose passion and hurt drove her to action.
    • 44 Metascore
    • 50 Lovia Gyarkye
    Next Goal Wins
    The film works best when Waititi gets out of his own way and lets the characters speak for themselves instead of self-consciously extinguishing any warmth with jokes.
    • 52 Metascore
    • 50 Lovia Gyarkye
    Reptile
    There’s no doubt, from the way Reptile creeps in the first half, that Singer is a skilled director. But there’s something to be said for restraint, which the helmer, who wrote his screenplay with Benjamin Brewer and the film’s star Benicio Del Toro, doesn’t exercise enough of here. In an effort to prove its cleverness, Reptile clanks, rattles and stumbles in its second half.
    • 60 Metascore
    • 60 Lovia Gyarkye
    Medusa Deluxe
    Medusa Deluxe is saved from its own potential waywardness by a series of stellar performances. The cast animates the strange, disquieting world of beauticians who describe their craft in profound, almost holy terms.
    • 48 Metascore
    • 40 Lovia Gyarkye
    Happiness for Beginners
    The woman at its center remains opaque, her romance is listless and her journey to self-discovery becomes an endurance test.
    • 50 Metascore
    • 60 Lovia Gyarkye
    Ruby Gillman, Teenage Kraken
    Ruby Gillman, Teenage Kraken charms and woos in a predictable manner.
    • 57 Metascore
    • 60 Lovia Gyarkye
    The Perfect Find
    Perrier’s direction — which pays sweet homage to romantic comedies and vintage Hollywood — makes up for the underdeveloped narrative and occasionally stiff performances from the supporting cast.
    • tbd Metascore
    • 50 Lovia Gyarkye
    The Catholic School
    A chilling story told in a disjointed manner.
    • 62 Metascore
    • 50 Lovia Gyarkye
    The Sweet East
    The Sweet East provides easy jabs and the occasional laugh, but never seems to figure out what it wants to say.
    • 59 Metascore
    • 50 Lovia Gyarkye
    The Little Mermaid
    Like other live-action remakes, The Little Mermaid is a neatly packaged story ribboned with representational awareness. There’s enough in it to fill an evening, but it doesn’t inspire much more than a passing sense of déjà vu.
    • 44 Metascore
    • 40 Lovia Gyarkye
    Freaks vs. the Reich
    Freaks Out seems preoccupied with looking cool and feeling offbeat without considering basic narrative requirements. With such an intense visual language and detailed costume and set design, it’s a shame that the story lacks similar heft.
    • 61 Metascore
    • 60 Lovia Gyarkye
    Peter Pan & Wendy
    Lowery and Halbrook overstuff the narrative, which begins to wobble and drag under the weight of its obligations. Nevertheless, there are interesting changes and subtle ways the duo correct the original text.
    • tbd Metascore
    • 40 Lovia Gyarkye
    Rare Objects
    There’s a lot of heart in Rare Objects, a film that tries to render with compassion the jagged aftermath of trauma.
    • 76 Metascore
    • 60 Lovia Gyarkye
    How to Blow Up a Pipeline
    While these stories are relatable and well-acted by a sturdy cast of exciting talent, they lack the potency of depth. How to Blow Up a Pipeline is skillfully executed — it hits all the right beats as a genre film, especially when it comes to ratcheting up the tension ­— but suffers from the same narrative limitations as Goldhaber’s equally compelling debut feature Cam.
    • 59 Metascore
    • 60 Lovia Gyarkye
    Self Reliance
    Self Reliance fares better when it plays up its fictional reality TV show. Johnson flexes his familiarity with the landscape and its mechanics.
    • 48 Metascore
    • 50 Lovia Gyarkye
    Down Low
    The film pushes against the expectation of queer narratives to follow the same dolorous beats by prioritizing fun and crass humor. But there’s just not enough substance to get us to care about reaching the finish line.
    • 74 Metascore
    • 60 Lovia Gyarkye
    Bottoms
    The jokes keep coming, but without a meaningful foundation — fleshing out the motivations of the group’s members would have helped — they start to wear thin.
    • 73 Metascore
    • 60 Lovia Gyarkye
    Creed III
    In the spirit of its predecessors, Creed III gears audiences up for a fight of the century: The battle between Adonis and Damian is billed as one between an underdog and a man with nothing to lose. But the implications of those categories are murky and unsettling.
    • 65 Metascore
    • 50 Lovia Gyarkye
    Sharper
    This is a film best experienced in a group setting, among friends, the kind of project that fosters conspiratorial thinking and could inspire multiple watches — if only it got out of its own way.
    • 55 Metascore
    • 50 Lovia Gyarkye
    A Lot of Nothing
    The film struggles to maintain the verve of this opening sequence (which nails a specific anxiety of liberal middle-class Black people), subsequently becoming a series of set pieces — some more energetic than others — in search of a thesis.
    • 58 Metascore
    • 60 Lovia Gyarkye
    Body Parts
    While Body Parts is a smart film and a useful primer on big questions about filmic representations of sex and desire, one wishes its conclusions were more nuanced.
    • 51 Metascore
    • 60 Lovia Gyarkye
    Darby and the Dead
    With a refreshingly diverse cast and a compelling premise, there’s a lot to appreciate about Darby and the Dead — even with its muddied execution.
    • 59 Metascore
    • 50 Lovia Gyarkye
    Loudmouth
    A sense of admiration and responsibility courses through the doc, an orientation that eventually curdles the narrative.
    • 53 Metascore
    • 50 Lovia Gyarkye
    Emancipation
    The drama feels flimsy when it strays from the swamps, rendering the politics of the time as almost secondary to the visual spectacle of a harrowing escape.
    • 50 Metascore
    • 50 Lovia Gyarkye
    Disenchanted
    Disenchanted lacks the charisma and curiosity of its predecessor.
    • 46 Metascore
    • 60 Lovia Gyarkye
    In Her Hands
    Scenes with her family members — especially her younger sisters — reflect a people growing more disenchanted with the state of affairs. The interviews with the Taliban — which grow repetitive and often feel like part of a different project entirely — contextualize the group’s ambitions and increased brazenness. In Her Hands starts to resemble a high-stakes drama in tone and style.
    • 64 Metascore
    • 50 Lovia Gyarkye
    Enola Holmes 2
    Enola Holmes 2‘s shortcomings don’t wreck the film — it’s a serviceable sequel — but the tension between the topics the film tackles and the soft-pedaled approach is one that hopefully won’t haunt future projects.
    • 54 Metascore
    • 50 Lovia Gyarkye
    Luckiest Girl Alive
    Luckiest Girl Alive struggles to balance its dual aspirations: delivering an emotionally wrought tale about survival and wrapping its gravity in the cheeky breeziness of publishing comedies like Freeform’s The Bold Type.
    • 62 Metascore
    • 60 Lovia Gyarkye
    A Jazzman's Blues
    A Jazzman’s Blues is overindulgent, a narrative feast of twists and turns. The formidable work of the cast paces us, helping viewers digest the plot and saving Perry’s screenplay from the collateral damage of its broad scope.
    • 66 Metascore
    • 60 Lovia Gyarkye
    Thirteen Lives
    It’s a restrained rendering of the events, a drama that plays, at times, like a documentary. But if Howard’s decision to spotlight the Thai characters in this harrowing narrative is a sound one, there’s an unfamiliar stiffness and self-consciousness in the director’s approach — an inability to marry the fast-paced, no-nonsense heroics that are his strong suit with more emotionally textured storytelling. The resulting awkwardness prevents the movie, for all the surreal tension and bravery it depicts, from feeling urgent or surprising.
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