Screen Daily's Scores

  • Movies
For 3,737 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Oppenheimer
Lowest review score: 10 The Emoji Movie
Score distribution:
3737 movie reviews
  1. A Quiet Place is the rare example of a creature feature which uses special effects sparingly (and possibly due to budgetary restrictions) in order to amplify the drama onscreen, not solely provide it. It employs the full register of sound, and the lack of any noise, as a dramatic player, informing all the action to the point where Krasinski’s film becomes a startlingly sensory experience.
  2. The film works on multiple levels. It’s an indictment of colonial brute force; a critique of masculine entitlement, an observation of the uneasy coexistence between tradition and modernity. But mostly, it’s a rich, engrossing and distinctive approach to African storytelling.
  3. Richly detailed, sensitively played and cleverly mounted.
  4. As a dreamy yet concrete evocation of lives beset by unseen anxieties and dwindling resources, Western has a mythic quality in keeping with its totemic title.
  5. An impressive US debut for French-Canadian director Denis Villeneuve, dramatic thriller Prisoners is a potent mix of suspense, emotion and intrigue that draws intense performances from leads Hugh Jackman and Jake Gyllenhaal.
  6. Director Lenny Abrahamson has made a deeply moving story about how adults try to explain the world to their children — even when they don’t always understand it themselves. And Brie Larson gives a tremendous performance as a mother who must be strong for her boy, until she suddenly can’t be anymore.
  7. Seeds is a sweet, meditative elegy for a way of life that is fast disappearing.
  8. Poppe’s way into the story – spending every second with one young woman as she navigates the carnage – is a moving testimony to the simple heroism that such events bring to the surface. Ultimately, it’s an homage to the very generation of young Norwegians who Breivik wanted to obliterate.
  9. Wang’s brutally revealing trilogy presents a challenging statement about working-class life, urban and rural, and urges us to think about economic exploitation and the nature of labour in the globalised world.
  10. As Maria, Burow shines in a phenomenally demanding role that challenges us to tune in empathetically to a character whose actions and motives are rarely less than problematic, but are always limned with a fine brush.
  11. Curry Barker’s astute horror takes the simple, familiar premise of a love-sick man attempting to win the object of his affections and shapes it into an incisive, entertainingly schlocky study of romantic co-dependency, patriarchal entitlement and the all-too-easy subversion of good intentions.
  12. While it smoulders with indignation for the injustice that was perpetrated for so many years, Great Freedom is also a love story, a remarkable character study, and an absorbing meditation on what long-term imprisonment for a crime that is not a crime does to the soul.
  13. The Holdovers is crushingly wistful in precisely the way moviegoers have come to expect from Payne.
  14. The main thing with a rousing cinematic experience like Architecton is that it wins the emotional argument.
  15. This meditative piece sidesteps ponderousness thanks to its modesty and inquisitiveness.
  16. Never appearing to judge any situation, Kingdon confidently allows the images to tell a fascinating, universal story of inequality and class division, revealing a country that feels more like a capitalist society than anyone’s idea of a Communist state.
  17. This is an unsettling rebuke of government control and ideological manipulation — as well as a sharp cry against compliance with the prevailing status quo.
  18. Jackson’s film is more than a technical tribute: it’s a testament to the bravery and camaraderie of the soldiers, the memory of which has faded like the photographs he brings back to life. In a way, it helps arrest the fear that we are forgetting this futile obliteration of an entire generation.
  19. An intense romance notable for the craft of the filmmaking and Diop’s original approach to complex issues of love, loss and the forces for change that can rise from the ashes of tragedy.
  20. The rarefied world of haute cuisine is not exactly a hard target to satirise, but this deliciously savage comedy from director Mark Mylod makes every bitter mouthful count.
  21. The Lost Leonardo is one of those rare documentaries in which almost everyone involved volunteers their loose-lipped testimony, seemingly unconcerned as to the dubious light in which it may place them, and Koefoed turns it in at a snappy 96 minutes with all the bells and whistles of a doc crowd-pleaser.
  22. Perhaps the most persuasive aspect of this hopeful parable of failure is the way casting, acting, script, and camerawork conspire to usher us into an immediately believable world which is observed with a painterly eye yet never seems staged.
  23. So compellingly directed and acted that for much of the time we could almost be watching a documentary, Life and Nothing More is an involving, quietly moving piece that eschews conventional narrative shape to offer a multi-layered depiction of exactly what the title promises.
  24. Tótem embraces chaos and bustle in an ensemble drama of a family living through crisis. This thematically rich piece offers a set of vivid character studies, while musing on life, death and time – largely from a child’s perspective.
  25. This essential documentary is necessarily, unflinchingly grim; the cinematic equivalent of walking in the survivors’ shoes, and a complex, challenging but crucial viewing experience that burrows its immense sorrows deep into the audience’s bones.
  26. Filmmaker Lina Soualem’s sentimental journey with her actress mother Hiam Abbass becomes a powerful celebration of lives marked by separation, exile and erasure.
  27. The performances are often revelatory, but the sense of history coming alive — of the past speaking to the present — is even more riveting.
  28. We
    A subtle, respectful and enlightening patchwork of contemporary French lives.
  29. In what is only fitting for a story literally and figuratively embroidered around hearts, the film’s visual and emotional beats are perfectly in synch.
  30. The film consistently works as both a straightforward psychosexual thriller and something more troubling — almost unspoken — underneath.

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