Matt Glasby

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Total Film
For 64 reviews, this critic has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 5 points higher than other critics. (0-100 point scale)

Matt Glasby's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Son of Saul
Lowest review score: 20 Winchester
Score distribution:
  1. Positive: 37 out of 64
  2. Mixed: 26 out of 64
  3. Negative: 1 out of 64
64 movie reviews
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    • 80 Metascore
    • 60 Matt Glasby
    The Beast
    There are some stunning moments, such as the eerily green-screened opener, and an unsettling underwater sequence up there with Dario Argento’s Inferno. But the 145-minute runtime feels increasingly indulgent, and Bonello borrows heavily from Kubrick, Lynch and Eternal Sunshine of the Spotless Mind.
    • 60 Metascore
    • 60 Matt Glasby
    Crawl
    Aja brings an exciting if less- than-watertight script to life with a minimum of fuss, plenty of flair and just a few eye-rolls.
    • 53 Metascore
    • 60 Matt Glasby
    Annabelle Comes Home
    Creakily slick like the rest of The Conjuring series, this spring-loaded spook story hits the mark more often than not.
    • tbd Metascore
    • 60 Matt Glasby
    Nails
    Dennis Bartok’s sparse horror has a spooky central conceit, and just about overcomes its budgetary bumps, while Macdonald excels as the innocent.
    • 50 Metascore
    • 40 Matt Glasby
    The Vault
    A rubbish fright flick.
    • 84 Metascore
    • 60 Matt Glasby
    A Ghost Story
    Like an arthouse Ghost, this is bold, original filmmaking with a pervasive sense of amused detachment.
    • 63 Metascore
    • 40 Matt Glasby
    The Eyes of My Mother
    Immaculately poised but almost completely pointless, it moves from chin-strokingly pretentious to profoundly depressing.
    • 44 Metascore
    • 40 Matt Glasby
    Aftermath
    Reducing promising material to movie-of-the-week status, Aftermath is well meaning, but anonymously made.
    • 59 Metascore
    • 60 Matt Glasby
    Anthropoid
    Ellis has a real flair for action – the assassination scene is heart-stopping – but patchy accents, strange pacing and an overstretched budget nearly scupper proceedings.
    • 84 Metascore
    • 60 Matt Glasby
    13 Assassins
    All politics and posturing, the first two-thirds of the film are stiff and uninvolving, and although the climatic 45-minute free-for-all is genuinely spectacular, it’s clear where the director’s heart lies.
    • 74 Metascore
    • 60 Matt Glasby
    In Order of Disappearance
    It’s not without its moments, but more comic dexterity and less brute force would have made a less choppy watch.
    • 65 Metascore
    • 40 Matt Glasby
    The Conjuring 2
    This furiously bizarre follow-up deserves full marks for throw-everything-at-the-screen entertainment value, but none for execution.
    • 47 Metascore
    • 60 Matt Glasby
    Poltergeist
    Very tame, but saved from the remake scrapheap by Sam Rockwell's surprisingly touching performance and a final reel that – briefly – takes the material somewhere new.
    • 35 Metascore
    • 40 Matt Glasby
    Everly
    A facepalm of a film that places no value on life or limb yet still expects the audience to, this sub-par shoot-’em-up plays out like Four Rooms’ fifth part.
    • 42 Metascore
    • 40 Matt Glasby
    Lost River
    Coasting on charismatic performances and a quality crew, Gosling’s debut proves two things: screenwriting is hard, and stylish and stylised are very different things.
    • 63 Metascore
    • 60 Matt Glasby
    Good Kill
    Required viewing as a critique of US foreign policy but forgettable as a drama, Good Kill is a timely warning, even if it lacks the power of the horrors it depicts.
    • 56 Metascore
    • 60 Matt Glasby
    Hyena
    Hyena may be grim, but it’s also grimly engrossing in a way that gets under the skin.
    • 69 Metascore
    • 60 Matt Glasby
    Predestination
    Slick but overstretched, Predestination deserves respect for what it tries to achieve rather than dismissal for not getting there. Either way, you will not be bored.
    • 70 Metascore
    • 60 Matt Glasby
    Camp 14: Total Control Zone
    A challenging watch, steeped in numbing horror.
    • 79 Metascore
    • 60 Matt Glasby
    A Most Violent Year
    A sombre crimer that resists easy thrills, investing instead in grit, intelligence and complex characterisation.
    • 42 Metascore
    • 60 Matt Glasby
    The Woman in Black 2: Angel of Death
    Harper’s well-appointed sequel has strong performances even if the Woman becomes a supporting character in her own tale.
    • 62 Metascore
    • 60 Matt Glasby
    Bad Turn Worse
    Though its influences (Badlands, early Coens) are writ large, and the denouement disappoints, the performances convince, the dialogue captivates and the sense of backwater boredom is overpowering.
    • 57 Metascore
    • 60 Matt Glasby
    A Walk Among the Tombstones
    Exciting, in places, though a stranger to subtlety, it ticks all the genre boxes, but there’s something about its knowing noirisms that feels superficial rather than soaked-in.
    • 59 Metascore
    • 40 Matt Glasby
    Salvo
    Writer/directors Fabio Grassadonia and Antonio Piazza’s debut explores over-familiar territory and suffers from fiercely ponderous pacing.
    • 59 Metascore
    • 60 Matt Glasby
    Magic Magic
    It ebbs away at the climax, but there’s 45 minutes where it sings loud and strange.
    • 52 Metascore
    • 60 Matt Glasby
    The Machine
    Despite some striking imagery and sterling FX work, Welsh writer/director Caradog W James’ expert use of limited resources doesn’t stretch as far as the subtlety-averse script.

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