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 3.4 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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    • 67 Metascore
    • 58 Oliver Lyttelton
    T2 Trainspotting
    It ends up feeling like going to a festival headlining date by a reunited Britpop band. It’s great to see them back together, they look pretty good for their age, and there are transcendent moments when they play the hits. But the set goes on a bit long, and the new material’s a bit forgettable, and they’re sloppier than they used to be, and in the end, you start to wonder if it had been better if you’d been left with your memories from back in the day.
    • 67 Metascore
    • 42 Oliver Lyttelton
    Les Cowboys
    Bidegain certainly scores points for ambition with his first film, and in scenes or snippets...you can see what he was aiming for. Unfortunately, by the time it’s done, Les Cowboys feels like a missed opportunity.
    • 67 Metascore
    • 75 Oliver Lyttelton
    Tom at the Farm
    It's certainly his best film.
    • 66 Metascore
    • 91 Oliver Lyttelton
    Happy New Year, Colin Burstead.
    Some might dismiss the film as minor Wheatley — made in just a couple of weeks, on a budget likely smaller than even many of Wheatley’s inexpensive earlier pictures. But there’s a lot going on in it, from the genuinely profound portrait of how families can bring out the most toxic sides of their members when they’re together, to a light sprinkling of state-of-the-nation, post-Brexit commentary.
    • 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.
    • 66 Metascore
    • 50 Oliver Lyttelton
    Dinosaur 13
    Miller's documentary skills seem solid enough, but this particular story needed more objectivity, and a lot more rigor, to be worth telling in this manner.
    • 51 Metascore
    • 16 Oliver Lyttelton
    Parkland
    There's a pleasing egalitarianism to the film's history-through-the-eyes-of-the-ordinary-man concept, but the script rarely makes the case that their versions are compelling enough to warrant a film.
    • 66 Metascore
    • 67 Oliver Lyttelton
    Moebius
    A sly dark comedy that doubles as a very impressive display of wordless storytelling.
    • 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.
    • 65 Metascore
    • 50 Oliver Lyttelton
    The Boy and the Beast
    There are elements of The Boy And The Beast that undoubtedly reinforce the promise that Hosoda holds: it’s a treat to look at, is inventive in spots, and will probably be eaten up by younger viewers. But it ultimately proves both narratively unsatisfying and emotionally lacking.
    • 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.
    • 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.
    • 64 Metascore
    • 58 Oliver Lyttelton
    Sacro GRA
    The 90-minute film feels shallow and, while Rosi has a good eye, not especially cinematic.
    • 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.
    • 64 Metascore
    • 50 Oliver Lyttelton
    Quartet
    Quartet is a hard film to dislike entirely, thanks principally to the charms of its cast.
    • 63 Metascore
    • 83 Oliver Lyttelton
    Anna Karenina
    Both fascinatingly theatrical and thrillingly cinematic, a picture that's lingered on our minds more than we expected.
    • 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.
    • 63 Metascore
    • 58 Oliver Lyttelton
    World War Z
    The film can be engaging, well-made, and even a touch more interesting than it has much right to be. But it's also far from a satisfying work as a whole.
    • 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.
    • 62 Metascore
    • 50 Oliver Lyttelton
    Black Sea
    It'll pass a couple of hours on a rainy afternoon without too much trouble. But whether as an adventure tale, a thriller, or a morality play, Black Sea never quite makes a compelling enough case for its existence when better examples of the submarine genre are already out there.
    • 49 Metascore
    • 58 Oliver Lyttelton
    The Sacrament
    The tension really is beautifully ramped up in these early scenes and gets an audience well prepped to watch carnage unfold around people you've truly come to care about. Then, when the thing goes off, it's not with a bang but with something more like a a whimper.
    • 61 Metascore
    • 75 Oliver Lyttelton
    Harmontown
    As a portrait of a legitimately fascinating unlikely superstar, the film really works.
    • 61 Metascore
    • 83 Oliver Lyttelton
    Paradise: Faith
    For all its abrasiveness, the film is also capable of real tenderness.
    • 61 Metascore
    • 58 Oliver Lyttelton
    Fast & Furious 6
    While there's a lot of fun to be had, Furious 6 doesn't quite hit the insane heights of "Fast Five," but we're sure it'll delight franchise fans who mostly want to see bald people butt heads, and moving vehicles crash into other moving vehicles.
    • 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.
    • 60 Metascore
    • 42 Oliver Lyttelton
    SPECTRE
    In general, this feels like a film patched together out of endless hastily-drafted script rewrites rather than a cohesive vision.
    • 60 Metascore
    • 42 Oliver Lyttelton
    Sweet Bean
    Unfortunately, it proves to be as disposable as the snack it revolves around.
    • 60 Metascore
    • 50 Oliver Lyttelton
    Allied
    It’s an engaging film in many respects, but one that exemplifies a lot of the problems that have trailed Zemeckis across his career.
    • 60 Metascore
    • 50 Oliver Lyttelton
    A Perfect Day
    The humor is there on paper, but it ends up emptily quippy and gag-filled rather deriving the jokes from situations and character, and only one in three end up landing, mostly thanks to Robbins.
    • 60 Metascore
    • 50 Oliver Lyttelton
    The Iceman
    It’s never a painful watch, more of a faintly dull, seen-it-all-before one. If nothing else, it’s evidence that these days, being based on a true story isn’t enough to elevate a film in a well-worn genre ahead of the pack.
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