CineVue's Scores

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For 1,771 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 6.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Lowest review score: 20 Victoria and Abdul
Score distribution:
  1. Positive: 1,013 out of 1771
  2. Mixed: 727 out of 1771
  3. Negative: 31 out of 1771
1771 movie reviews
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  1. In the Basement
    Seidl is a filmmaker of both talent and merit, but the blatant manipulation of his subjects and the nakedness of his own intentions and dribbling fascination make In the Basement irrelevant as a comment on Austrian society as a whole, and only passingly interesting as an unsurprising picture of what some very odd people do in the privacy of their own homes.
  2. Vazante
    A slow-burning drama about slavery in all its forms, this austere, visually striking film combines a harrowing period of Brazilian history with devastating accuracy of emotion.
    • 67 Metascore
    • 80 Critic Score
    I Was at Home, But
    In another director’s hands this might all have been a bit of a slog but there is a quiet humor and lightness of touch to Schanelec’s direction and a self-effacing irony to Aistrid’s rambling that saves it from pure maudlinism.
  4. The President
    The President has an urgent relevance to all too many countries around the world, including those touched by the Arab Spring; a darkly comic and poignant portrait of an Ozymandian fall from grace and the subsequent damage that ensues.
  5. Avatar: The Way of Water
    As the credits roll on one of the most spectacular and unengaging films of the year, The Way of Water’s vision is as clear as mud. As Cameron has become more fascinated with the technology of storytelling, it seems he’s become less so by the actual storytelling.
  6. Lord of the Flies
    William Golding’s tale of public schoolboys stranded on a desert island is an iconic depiction of fundamental savagery. More than fifty years on, Peter Brook’s 1963 Lord of the Flies remains the definitive film, its hallucinogenic brutality as terrifying as ever.
  7. Vox Lux
    An imagined biography of a fictional pop star, the film is ambitious in its structure but only occasionally flickers into life.
  8. Ned Rifle
    Rife with the director's trademark stylistic preferences, this is a blast of an idiosyncratic comedy full of brilliant deadpan performances that offer a wickedly funny and poignant conclusion to the fable.
  9. Nocturnal Animals
    It's gorgeous, lush and fun, but there's an underlying silliness to the endeavour which, despite occasional archness, constantly threatens to trivialise events.
  10. T2 Trainspotting
    Boyle has made an admirable effort that captures the melancholy of being right back to where you started from. But it's not what it used to be - or what it could have been.
    • 67 Metascore
    • 60 Critic Score
    Halloween
    There’s nothing inherently problematic about reverence and homage, but the partial focus on the Strodes, and the ideas cased within regarding the bonds and abscissions violence brings, makes one wish more time was spent studying their multi-generational dynamic than on Michael’s murder spree.
  12. Anchor and Hope
    Even if it does occasionally threaten to outstay its welcome with a 111-minute running time, the deeply engaging performances and that freeing and uninhibited Spanish flavour which Marques-Marcet brings to his English-language debut, means it’s the kind of world you really don’t mind lingering in.
  13. Annette
    The delight is in the audacity and surprise of the film.
  14. Chappaquiddick
    The film ultimately ends up feeling like a shaggy dog story – a metaphor for Ted Kennedy, perhaps – engaging, charismatic, but ending with a whimper.
  15. A Faithful Man
    A Faithful Man may tip its hat to the conventions of film noir – Abel as the patsy, Marianne as the femme fatale – but Garrel’s winking sensibility is far too fun for real darkness. Instead, he gives us a wonderful soufflé of a film – light, airy, and a rare treat.
    • 67 Metascore
    • 80 Critic Score
    Runaway Train
    The true winning formula, however, is found in Voight and Roberts’ double-act. Their eccentric characters are funny, violent and heartwarming all at the same time, where we root for them despite the fact that they’re basically psychopaths.
    • 67 Metascore
    • 60 Critic Score
    The Circle
    The Circle is an undiscovered gem that constantly delights with its unshowy transference of an inherited blood debt that we finally are 'beginning' to honour.
  18. Furious 7
    While it can feel, at times, a little too scattered (often in terms of plot), this is a praiseworthy venture. Its a film that knows its audience well enough to give them exactly what they demand and deserve after more than a decade of dedication.
  19. Guardians of the Galaxy Vol. 2
    The choice soundtrack, accompanied by the candyfloss aesthetic make for moments of fun, but it ultimately lacks the originality of the first.
  20. Jealousy
    The acting throughout is supremely naturalistic, and the social milieu of both family life and the theatre are carefully observed and lightly rendered.
  21. Calm with Horses (The Shadow of Violence)
    Calm with Horses’ driving concern – the corrosive nature of violence on the self – is rendered in brutal, empathic precision, while the recovery of its protagonist’s humanity as it teeters on the cliff edge is simply heartbreaking.
  22. Black Panther: Wakanda Forever
    As just another entry in the MCU, Wakanda Forever is a very solid film. Entertaining and intelligent, it builds on the themes of its predecessor. Yet, navigating more than defying the Marvel machine, Coogler’s sequel becomes more than the sum of its parts. And so Wakanda Forever’s most important legacy is as a fine and fitting tribute to its erstwhile hero.
  23. The Last Tree
    While comparisons to Moonlight are not without merit, The Last Tree bucks the coming-of-age blueprint in new, specific ways.
  24. No Man of God
    No Man of God sets out to demystify serial killers and achieves its aim.
  25. The Final Year
    As moving and timely as The Final Year is, it doesn’t quite hit these marks.
  26. The Alpinist
    The footage of Leclerc ascending sheer, near-featureless sheets of rock is so defiant of physics that it is easy to forget just how mind-bogglingly dangerous it is.
  27. Sweetheart
    Though it may not stray too far off a well-beaten track, Marley Morrison’s feature debut Sweetheart is a sure-fire crowd pleaser that showcases a young filmmaker and cast with real promise.
  28. The House by the Sea
    The House By the Sea is ultimately a deeply satisfying and occasionally moving experience.
  29. Cinderella
    Despite Blanchett's resplendent performance and the comforting assurances that are inherent with any excursion into the reliably innocuous Disney universe it's tough to overlook the fact that there's something depressingly antiquated about Branagh's dazzling fairytale and its regressive sexual politics.
  30. Mr. Holmes
    Its stately pace doesn't preclude Mr. Holmes (2015) from being a delightful romp all the same.
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