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For 83 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Wicked
Lowest review score: 20 Joker: Folie à Deux
Score distribution:
  1. Positive: 44 out of 83
  2. Mixed: 37 out of 83
  3. Negative: 2 out of 83
83 movie reviews
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  1. Lollipop
    The fact is that the restrictions and judgements around single motherhood are only compounded by the harsh reality of class and privilege. Surrounded by more bureaucratic red tape than common-sense empathy, Molly often struggles – but through grit and determination, she reaches a foothold for her family that promises a better future.
  2. The Fantastic Four: First Steps
    It is a convincing, emotionally arresting, and visually appealing antidote to the complex muddle of so many recent superhero films.
  3. Is This Thing On?
    Crucially, the film is very funny, but like Alex (and Bishop), in a gentle, unprepared sort of way that feels like having good mates over for dinner.
  4. Queer
    It rewards the viewer with a sense of the vast beauty – and sadness – a fleeting love affair might provide. It’s a brief thing, maybe, but it also lasts a lifetime.
  5. The Substance
    The plot isn’t always watertight, but The Substance nails the way female youth and beauty can steam-roll and flatten out the existence of older women.
  6. Eddington
    With its well-observed, often darkly hilarious details of oddball inhabitants and chilling deployment of the chaotic overwhelm of social media in our lives, Eddington walks a thin line between dread and comedy.
  7. Materialists
    Song’s point about the impact of class, economics, and the insidious, algorithmic approach to finding a partner feels like an accurate one. Love should be about risk-taking, not box-ticking; Lucy learns that soon enough, and seeing it play out is compelling.
  8. The Room Next Door
    The patience and candid discomfort with which Almodóvar approaches it all feels fresh, the women’s relationship increasingly moving.
  9. House of Gucci
    A wobbly and unstoppable juggernaut, barrelling ahead with the brazen confidence of a flashy Italian supercar with its ‘check engine’ light on, House of Gucci is a glorious, trashy crime melodrama based on real life. It pings from tragicomic to tragic to unintentionally funny from moment to moment: sometimes in the same scene.
  10. Wallace & Gromit: Vengeance Most Fowl
    It is, all of it, glorious knockabout nonsense, a visual joy for kids, and exquisitely detailed for adults.
  11. The Phoenician Scheme
    Made with Anderson’s typically droll tone, it’s often very funny and continually surprising.
  12. Mickey 17
    Mickey 17 is a highly entertaining absurdist ride that embraces nihilism right up until the moment it tenderly skewers it.
  13. The Smashing Machine
    It manages to avoid cliché, making Kerr tender in one moment and dubious the next, smashing in doors and, at his worst in the throes of addiction, collapsing into sobs
  14. Wuthering Heights
    It is a brash, funny, extravagant spectacle about sex and death, pain and pleasure, and – most of all – fashion. Milkmaid corsets, vintage Chanel, latex wedding dresses. Move over, Kate Bush. There’s a new Wuthering Heights look in town.
  15. Paddington In Peru
    Paddington in Peru lacks the anarchic humour and originality that made its predecessors outstanding, but it’s all terribly merry nonetheless.
  16. The Uninvited
    There is monologuing, there is pacing the floor, there is possibly too much wordiness for what is ultimately a visual medium. But its characters and the performances are intriguing enough to keep the suspense going.
  17. Megalopolis
    There’s a sense of tinkering originality to the film that feels unlike anything else being made at the moment.
  18. 28 Years Later
    Boyle still has an eye for suspenseful action, and much of it is breathtaking.
  19. Springsteen: Deliver Me from Nowhere
    The Bear’s Jeremy Allen White plays Springsteen in a performance that hits all the right beats, including some enjoyably sweaty, raspy musical set pieces (White sings the numbers himself), without ever elevating the role to anything greater.
  20. 28 Years Later: The Bone Temple
    I’m not convinced that the heavy violence is entirely warranted, but the whole thing is at least unfailingly kitsch, and when the storylines merge they do so seamlessly.
  21. A Complete Unknown
    This is not some deification story, even though it often regards Dylan’s capacity for musical storytelling with something akin to worship. Mangold steers the ship into harbour competently, even if I have some niggling questions about why the Dylan myth requires yet another movie.
  22. The End
    Even if the film can feel airless at times, with long, solid shots of the survivors’ banal everyday lives, it does have much to say on the foibles of mankind – and the way society may very feasibly backslide into, well, The End. That, to me, is worth giving a chance.
  23. Bring Her Back
    There’s too much focus on disturbing the viewer rather than illuminating anything for them. Bring Her Back is a film that knows how to provoke, but not how to provide much insight.
  24. The Salt Path
    It’s a film that could do with a little more feeling overall – and more fury, too.
  25. Nuremberg
    This hybrid never feels quite cohesive enough, the pace somehow both rushed and yet too slow. One feels Vanderbilt’s panic at the enormity of the topic. That’s not to say there isn’t a lot to admire.
  26. Goodbye June
    Goodbye June is preoccupied with sentiment in a way that might feel great for a two-minute Christmas ad, but just doesn’t work for an entire film. Still, Winslet is a confident director and Anders has an eye for relationships.
  27. Nightbitch
    When Heller is metaphorically exploring the potentially horrifying physical transformation of pregnancy and post-partum life – and the personal sacrifices of identity, career, and self that women face when they become mothers – Nightbitch has a lot of smart, real things to say.
  28. Rumours
    To enjoy Rumours you will have to accept that despite its opening, its aim is not The Thick Of It-style political skewering, but rather bonkers, absurdist nihilism. In the apocalypse, it turns out, nothing means much at all.
  29. Moana 2
    It fails to offer anything new and lacks the original’s fearless spirit. It’s not a dud, just a muted version of its forerunner, getting you where you want to go, just with less wind in its sails.
  30. Mufasa: The Lion King
    Jenkins is the kind of talent who can turn his hand to almost anything and Mufasa is a respectable film as a result.
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