Screen Daily's Scores

  • Movies
For 3,730 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 4 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:
3730 movie reviews
  1. Any dramatic convenience can be forgiven as the platonic chemistry between Ferreira and Leguizamo feels natural, empathetic and genuine. And as they both begin to let down their guards, it’s a pleasure to watch them; so much so, in fact, that it doesn’t really matter that the characters in their orbit are far less vividly sketched.
  2. Exuberant as it is, The Show treats its basic premise earnestly enough not to come across as merely spoofy. And there’s some considerable wit in the script.
  3. For all the punches thrown and buildings pulverised, The New Empire barely leaves an impact.
  4. Ariane Louis-Seize’s debut feature plays like a coming-of-age genre mash-up, and features a tortured blood-sucker protagonist reminiscent of Only Lovers Left Alive, A Girl Walks Home Alone At Night or even The Hunger, although it is narratively and stylistically striking enough to make its own impact.
  5. It heads into strange and violent territory but is never overly comfortable there – it is always intriguing and defiantly left-field.
  6. While there is no doubting the filmmakers’ admirably humanistic and progressive intentions, however, the picture itself somehow ends up less than the sum of its often-impressive parts.
  7. The clumsy mixture of nostalgia, scares, set pieces, sincerity and wisecracks never gels.
  8. Taking pleasure in subverting romcom tropes and boasting a satisfying attention to detail, Timestalker is a showcase for Lowe’s considerable talents on both sides of the camera.
  9. This is a wonderfully messy genre flick that takes pleasure in offering the kind of startling revelations mixed with sharp barbs that will make many clap deliriously while leaving some wanting more answers.
  10. The questing duo has trusted ‘GTA’ and its trigger-happy denizens: they just need to trust the audience a little bit more that this new world can be enjoyed without the same old beats.
  11. Even for Garland’s adept visual storytelling, supported by daring cuts by Jake Roberts and offbeat needledrops, the core of Civil War feels hollow.
  12. It’s a robustly entertaining romp.
  13. Copa 71 may have a packaged air to it, but the story speaks – loudly – for itself.
  14. In its refreshingly frank look at the end of life, Much Ado About Dying becomes a thought-provoking study of what it means to live.
  15. While Arcadian is far from being a new modern horror masterpiece, it makes for a satisfying B-movie romp.
  16. Despite the tantalising set up, Immaculate is a dull, predictable affair, composed of far too many inconsequential jump scares in lieu of sturdy storytelling.
  17. Rather than truly being inspiring or moving, Arthur The King manipulates and frustrates. Adventure racers may be encouraged to forge their own path, but this film is far from trailblazing.
  18. The Fall Guy is at its best when it captures the frenzied energy, the multiplicity of artisans, and the devoted precision necessary to bring a scene together.
  19. As a star, Patel has rarely been better. And as a director, he grants an intoxicatingly gruesome vision of the kind of gritty vehicles he could steer in the future.
  20. Y2K
    This is a nostalgia play composed of admittedly funny and gnarly moments that do not string together into a satisfying whole.
  21. Throughout it all, Knight is a compelling and fiercely persuasive performer.
  22. Between the strained punchlines and the unsurprising plot twists, the picture feels obligatory rather than inspired.
  23. At Averroès & Rosa Parks, which premiered in Berlinale Special, is a tougher watch than its predecessor, but an extremely accomplished and compelling work.
  24. It’s a wildly original work from De Los Santos Arias, a film with a gleefully wanton approach to form, style and story in which no directorial decision is predictable, and, despite a slightly overstretched running time, no moment is ever dull.
  25. It is hard to decide whether Dumont is treating his genre borrowings with belittling contempt, or getting a kick out of the possibilities offered; it seems safe to assume both. And while the overall weirdness has charm and shock effect, once you’ve got over the surprise of Dumont being this flippantly outre the pleasure wears thin.
  26. The newness is subtle and gently perplexing, but very satisfying indeed.
  27. A documentary that is particularly urgent and eye-opening in the context of the current Israeli-Palestinian conflict.
  28. It’s seductive, fragmented, involving.
  29. The film’s eclectic ambitions and increasingly eccentric construction get the better of it, resulting in a very uneven brew.
  30. [An] agile, cerebral film.

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