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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    • 70 Metascore
    • 60 Matt Glasby
    Camp 14: Total Control Zone
    A challenging watch, steeped in numbing horror.
    • 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.
    • 68 Metascore
    • 80 Matt Glasby
    The Childhood of a Leader
    Submit to Corbet’s vision and you’ll find something original and unsettling.
    • 68 Metascore
    • 100 Matt Glasby
    American Animals
    Running from entertaining to tense as hell, Layton’s docu-drama heist flick grapples with something that most capers can’t even begin to compute: consequences.
    • 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.
    • 68 Metascore
    • 80 Matt Glasby
    Ghost Stories
    Bone-chillingly told and beautifully made, Ghost Stories is an expert twist on an evergreen genre.
    • 68 Metascore
    • 80 Matt Glasby
    Neighbors
    A heated, hysterical battle between Apatow smarts and Animal House smirks. Subtlety takes a hazing, but humour emerges with honours.
    • 67 Metascore
    • 80 Matt Glasby
    T2 Trainspotting
    Wiser, sadder but very much alive and kicking, T2 is a film that knows you can’t compete with the ghosts of the past. But at least you can dance with them.
    • 67 Metascore
    • 80 Matt Glasby
    Rosewater
    A modest, moving film, Rosewater goes to show that quiet outrage can speak as loud as any atrocity.
    • 66 Metascore
    • 80 Matt Glasby
    Glassland
    Ends up an impressive addiction drama. Stay with it and it’ll stay with you.
    • 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.
    • 65 Metascore
    • 80 Matt Glasby
    Metro Manila
    A moving morality tale set in a world rarely seen in western cinema, Metro Manila is an underdog drama that feels as authentic as it is original.
    • 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.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 60 Matt Glasby
    Magic Magic
    It ebbs away at the climax, but there’s 45 minutes where it sings loud and strange.
    • 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.
    • 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.
    • 57 Metascore
    • 80 Matt Glasby
    The Ritual
    Entertaining, engrossing and at times genuinely unnerving, Bruckner’s bad trip is one for horror fans to relish.
    • 56 Metascore
    • 60 Matt Glasby
    Hyena
    Hyena may be grim, but it’s also grimly engrossing in a way that gets under the skin.
    • 54 Metascore
    • 80 Matt Glasby
    I Am Not a Serial Killer
    Intelligent, original and committed, it’s also a little meandering. But Records cuts a strikingly amoral figure, and the sight of Christopher Lloyd intoning poetry over dying embers reminds us what a wonderful actor he is.
    • 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.
    • 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.
    • 50 Metascore
    • 40 Matt Glasby
    The Vault
    A rubbish fright flick.
    • 47 Metascore
    • 80 Matt Glasby
    The Town That Dreaded Sundown
    Slasher smarts with guts and heart. Town is no Scream but it’s still one of the most entertaining, enterprising remakes in recent memory.
    • 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.
    • 47 Metascore
    • 80 Matt Glasby
    Blair Witch
    Wingard and Barrett’s surprise – and surprisingly strong – sequel earns its scares. An effective follow-up to a film that can’t be matched.
    • 44 Metascore
    • 40 Matt Glasby
    Aftermath
    Reducing promising material to movie-of-the-week status, Aftermath is well meaning, but anonymously made.
    • 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.
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