Tom Shone

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The Times
For 13 reviews, this critic has graded:
  • 46% higher than the average critic
  • 0% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 5.2 points higher than other critics. (0-100 point scale)

Tom Shone's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Sentimental Value
Lowest review score: 40 Wuthering Heights
Score distribution:
  1. Positive: 7 out of 13
  2. Mixed: 6 out of 13
  3. Negative: 0 out of 13
13 movie reviews
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    • 91 Metascore
    • 80 Tom Shone
    The Secret Agent
    The sidewinding rhythm of the film will probably throw some, but that’s all the more reason to see it in the theatre: a lot goes on beneath the surface, the lack of signposting has a cumulative power, and the ending is a beauty, mixing heartbreak, hope and the boy, Fernando, who has been patiently waiting for his father all along.
    • 68 Metascore
    • 60 Tom Shone
    Crime 101
    Layton’s direction is powerful but patient and Berry brings real bite to her insurance agent, who at 53 is prey to the bitter realisation that the system is not built in her favour.
    • 55 Metascore
    • 40 Tom Shone
    Wuthering Heights
    Provocation is just people-pleasing upside down — it has the same empty rattle. A wind whistles through the centre of this film, and not the Brontëan kind.
    • 86 Metascore
    • 100 Tom Shone
    Sentimental Value
    Reinsve seems to give nothing away and yet there’s not a scene she’s in where we’re not clued into Nora’s emotions. The acting is almost invisible. Nora, it becomes clear, is the mirror image of her father: giving free rein to her emotions only under the cover of the art.
    • 54 Metascore
    • 80 Tom Shone
    Goodbye June
    It’s a wonderfully raw, moving and funny film about sibling niggles and family heartbreak, filled with biting humour, button-sized observation, noisy kids, frayed tempers and armpit farts. In short, a perfect movie to watch with your family as you contemplate the looming festivities.
    • 72 Metascore
    • 60 Tom Shone
    Die My Love
    Returning to the screen after a long absence, Lawrence manages such profound levels of eye-rolling pissed-offness that it’s difficult not to take it as a sign of the actress pushing back on the suffocating levels of adoration she has been subjected to.
    • 75 Metascore
    • 80 Tom Shone
    A House of Dynamite
    By keeping us in the dark about two key facts — who launched the missile and what America does in response — Bigelow keeps her focus not on the enemy, but facing inwards, on those steely souls tasked with the West’s national defence.
    • 78 Metascore
    • 80 Tom Shone
    Frankenstein
    Once Jacob Elordi takes the stage as the monster — sorry, the creature — everything falls into place. It’s always the way of del Toro: the monsters are better than the men.
    • 65 Metascore
    • 60 Tom Shone
    The Smashing Machine
    The true naked aggression of Raging Bull seems beyond the reach of Johnson, or of this rather sweet-natured film. Instead it’s Gently Engaging Bull.
    • 95 Metascore
    • 100 Tom Shone
    One Battle After Another
    Hefty yet cantering, deliriously funny in places, as audacious as a moonshot — One Battle After Another is probably Anderson’s best film.
    • 46 Metascore
    • 40 Tom Shone
    Honey Don't!
    Coen has gone back to his happy place but this time he’s not taken the audience with him.
    • 50 Metascore
    • 60 Tom Shone
    The Cut
    The poster might as well read “come see Orlando Bloom get put through the wringer”. It’s awesome on some level but it’s not much else.
    • 90 Metascore
    • 80 Tom Shone
    Sorry, Baby
    Sorry, Baby is of a different order of achievement. Walking a tonal tightrope between comedy and tragedy with an exquisite balance that recalls Jesse Eisenberg’s A Real Pain of last year, the film manages to address a difficult, dark subject with a blunt candour that is also slyly funny.

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