Oliver Lyttelton

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For 152 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 3.5 points higher than other critics. (0-100 point scale)

Oliver Lyttelton's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Arabian Nights: Volume 2, The Desolate One
Lowest review score: 0 Grace of Monaco
Score distribution:
  1. Positive: 101 out of 152
  2. Mixed: 38 out of 152
  3. Negative: 13 out of 152
152 movie reviews
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    • 74 Metascore
    • 75 Oliver Lyttelton
    Been So Long
    It’s a cast full of the sort of faces that regularly pop up on ones-to-watch lists, and it’s the biggest thing that Been So Long has going for it. “Chewing Gum” fans will know how talented Coel is, but she’s particularly good here with a role that’s more adult and serious than her breakout turn (while still letting her have some fun occasionally).
    • 65 Metascore
    • 75 Oliver Lyttelton
    Saving Mr. Banks
    Even if it doesn't quite stick the landing, there's a lot to like here; it's a fundamentally decent, very well-acted and cannily written film.
    • 71 Metascore
    • 75 Oliver Lyttelton
    Nocturama
    Even if the film isn’t entirely to my taste, it’s a provocative and powerfully made piece of work.
    • 78 Metascore
    • 75 Oliver Lyttelton
    Tracks
    The film’s undoubtedly a gorgeous look at the Australian outback, but those looking for deeper nourishment will be left a touch disappointed.
    • 66 Metascore
    • 75 Oliver Lyttelton
    Elstree 1976
    Without patronizing or condescending, it’s an examination of how fame can change us and haunt us, and of the complicated relationships that survivors of something like “Star Wars” can have with it.
    • 65 Metascore
    • 75 Oliver Lyttelton
    A United Kingdom
    The filmmaker has a real gift for getting into the political context of her stories while never neglecting the personal, and seeing the Khamas gradually win over his people, while still battling the British establishment, is gripping, rewarding and eventually moving.
    • 63 Metascore
    • 75 Oliver Lyttelton
    Spring Breakers
    Midnight movie programmers of the future will undoubtedly give it a long life years after it’s gone from first-run theaters.
    • 64 Metascore
    • 75 Oliver Lyttelton
    Catch Me Daddy
    It's an ambitious attempt to meld the kind of social realism that made the names of Andrea Arnold and Clio Barnard with a stripped-down genre thriller, an attempt that's only moderately successful, though it suggests Wolfe is a filmmaker of real promise.
    • 69 Metascore
    • 75 Oliver Lyttelton
    Bad 25
    It's fascinating, warm and immensely watchable stuff, and fans of both Jackson and pop music in general will surely eat the film up.
    • 76 Metascore
    • 75 Oliver Lyttelton
    Something in the Air
    There’s so much to like about the film, and it’s a mark of Assayas’ skill that it's a hugely engaging watch despite the blankness of the characters.
    • 61 Metascore
    • 75 Oliver Lyttelton
    Harmontown
    As a portrait of a legitimately fascinating unlikely superstar, the film really works.
    • 75 Metascore
    • 75 Oliver Lyttelton
    Goodbye to Language 3D
    Godard's full length take on 3D is bold, brilliant and exactly what the format needed — a iconoclast taking it and making his own, and almost every time he frames a shot in three dimensions, from opening credits to the final moments, there's something attention-grabbing going on.
    • 62 Metascore
    • 75 Oliver Lyttelton
    Iron Man 3
    For all the film's flaws, Black brings enough to the table that it's far from a chore, and if this level of ingenuity and surprise can be maintained, there'll be no need for Tony to hang up his Iron Man helmet any time soon.
    • 61 Metascore
    • 75 Oliver Lyttelton
    At Any Price
    Powerful, engaging and, by the finale, moving. And in the end, At Any Price is certainly one of the most impressive reactions to the recent economic crisis (because that’s exactly what it is) that cinema has produced so far.
    • 67 Metascore
    • 75 Oliver Lyttelton
    Tom at the Farm
    It's certainly his best film.
    • 53 Metascore
    • 75 Oliver Lyttelton
    The Awakening
    Has more than its share of flaws, but it also gets its balance of tones right, proving spooky, involving and occasionally resonant, while still managing to bring something new to a well-worn tale, and providing a terrific lead part for one of the most promising actresses of her generation.
    • 77 Metascore
    • 75 Oliver Lyttelton
    Wild Tales
    It's crisply and cleanly shot throughout, and the filmmaker shows a rare feel for how to not only make comedy land, but also to make it actually feel cinematic too.
    • 68 Metascore
    • 75 Oliver Lyttelton
    Queen and Country
    Queen & Country is hardly reinventing the wheel, but it's charming, evocative and (mostly) well-performed, and were Boorman to continue with his autobiographical cycle, we'd certainly welcome further installments.
    • 68 Metascore
    • 75 Oliver Lyttelton
    The Homesman
    While it’s an awkward, uneven picture, that doesn’t mean that it isn’t a fascinating one.
    • 59 Metascore
    • 75 Oliver Lyttelton
    Outlaw King
    Those looking for a substantial meal or an Oscar contender are probably going to be left lacking. But so long as you’re prepared for some rousing medieval action and not all that much more, Mackenzie proves here he can work on a significant canvas with a film that must rank as one of Netflix’s more satisfying bigger-budget ventures to date.
    • 65 Metascore
    • 67 Oliver Lyttelton
    The Lovers and the Despot
    The tale of Choi and Shin is a true stranger-than-fiction one, as good a piece of material as a filmmaker could help for. It’s just a shame that, for the most part, The Lovers And The Despot feels like it’s giving you the Cliff Notes version of the story.
    • 54 Metascore
    • 67 Oliver Lyttelton
    Oblivion
    It is overlong, and familiar, and never quite hits top gear -- it's never especially bad, but neither is it especially excellent, beyond the visual wow factor. But there's still a lot to admire in the film, not least that it's engaging from the first moment to the last.
    • 71 Metascore
    • 67 Oliver Lyttelton
    The Falling
    Every time the picture opens a fascinating door, you're held back from going through by a naff filmmaking choice or a rote story move.
    • 52 Metascore
    • 67 Oliver Lyttelton
    Tai Chi Zero
    It won't linger in the mind longer than it takes for the credits to roll, but it's a lot of fun while it lasts, and we're genuinely looking forward to part 2 at this point.
    • 68 Metascore
    • 67 Oliver Lyttelton
    Ghost Stories
    There’s still a lot of pleasure to be had here, whether from digging your fingernails into the armrest early on, to Freeman’s sly comic performance later.
    • 69 Metascore
    • 67 Oliver Lyttelton
    Chronic
    It's a stinker of an ending tacked on to a disappointing third act (which is at least lifted up by Bartlett's performance), and it's a shame because so much of what went on before was so good: a tender, unsentimental, unexploitative look at an existence that all too many people have, and what it is to be someone who looks after them.
    • 66 Metascore
    • 67 Oliver Lyttelton
    Moebius
    A sly dark comedy that doubles as a very impressive display of wordless storytelling.
    • 52 Metascore
    • 67 Oliver Lyttelton
    RoboCop
    There are enough rough edges and interesting kinks across the two-hour running time that you come out forgiving it for the more generic elements, though we'll acknowledge that the flaws might stick out more on a second viewing, when you're not just pleasantly surprised that the whole thing isn't a stinking mess.
    • 58 Metascore
    • 67 Oliver Lyttelton
    Neighbors 2: Sorority Rising
    At its best, the film becomes something winningly subversive.
    • 50 Metascore
    • 67 Oliver Lyttelton
    The Zero Theorem
    There’s much to like, from Waltz’s performance to the typically rich production and costume design.
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