The Irish Times' Scores

  • Movies
Select another publication »
For 1,136 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 4.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Son of Saul
Lowest review score: 20 The Turning
Score distribution:
  1. Positive: 641 out of 1136
  2. Mixed: 469 out of 1136
  3. Negative: 26 out of 1136
1136 movie reviews
view
per page
  1. You, Me & Tuscany
    As ever, all these thumping stereotypes would matter less if there was some chemistry between the two leads. Page has sufficient charisma to skirt through the absurdity unscathed. In contrast, Bailey seems dazzled and bemused – neither crafty enough nor ingenuous enough to make sense of the central deceit.
  2. Luther: The Fallen Sun
    It seems churlish to complain that a film about a global serial killer is unnecessarily brutal and nasty. But between blackmail victims splatting on the pavements of Piccadilly Circus to bodies frozen under snowy lakes, Luther: The Fallen Sun is as distasteful as it is silly.
  3. I.S.S.
    If the film has a significant flaw, it is that it doesn’t get the room to breathe. Another 10 minutes to flesh out plots and subplots would have been nice.
  4. Tesnota (Closeness)
    Occasionally, the narrative is almost as wilfully undisciplined as its commendably rebellious heroine.
  5. Fly Me to the Moon
    This underpowered, $100-million-budgeted space oddity was originally intended for streaming. And it shows.
  6. Copilot
    Technically impressive and anchored by two terrific turns, Copilot walks a fine line as it attempts to delve into the humanity under extremism.
  7. Bruised
    What really makes Bruised worth sticking with, however, is the epic closing fight sequence.
  8. The Keeper
    The story’s underlying message has ended up more relevant than the film-makers can ever have anticipated.
  9. Parthenope
    These picaresque and picturesque adventures fail to coalesce into a movie. But it’s impossible to argue with Daria D’Antonio’s ravishing cinematography and an unexpectedly moving coda featuring Stefania Sandrelli as an older Parthenope.
  10. Coming 2 America
    Coming 2 America understands its relationship with nostalgia and by golly, it wrings every last warm feeling for the end of cultural history.
  11. Death on the Nile
    Death on the Nile remains the sort of harmlessly enjoyable entertainment they used to make when … well, way back when they made this film.
  12. Eternals
    We like that someone is allowing Chloé Zhao, recent Oscar-winner for Nomadland, enough money to build her own solar system. But the sluggishness and drabness is unforgivable.
  13. The United States vs. Billie Holiday
    For all its abundant flaws, The United States vs Billie Holiday is clearly the work of a man with hot celluloid running through his lymphatic system. I guess that is a compliment.
  14. Run Rabbit Run
    Not everything works here. Too much is overfamiliar. But Run Rabbit Run retains a clammy grip throughout. Definitely worth a stream.
  15. Eleanor the Great
    The film frantically tries to juggle farce, family comedy and the inherited trauma of the Holocaust. The results are not as egregious as Life Is Beautiful, but too much feels unearned and wildly inappropriate.
  16. Greed
    We should celebrate Winterbottom’s determination to get these points made in a mainstream entertainment. Greed is good enough (sorry). But we still deserve something better.
  17. Magic Mike's Last Dance
    Last Dance is frightfully indulgent, but, this being Soderbergh, it is also studded with delightful outbreaks of invention.
  18. After the Hunt
    Every scene, like the effusions of the worst social-media bore, dares different bits of the audience to get righteously furious. Few will be minded to bother.
  19. Malmkrog
    Malmkrog is a talky, challenging slog, but it’s seldom short of ideas. One is unlikely to find greater consideration of pelagianism in any other film this year. Or decade.
  20. Whitney Houston: I Wanna Dance With Somebody
    I Wanna Dance with Somebody plays by the rules of the TV movie to efficient, if scarcely groundbreaking, effect. It will change no minds about Whitney Houston.
  21. Project Power
    It mostly succeeds on old-fashioned smack-’em-up and sure personal chemistry.
  22. Nightride
    Happily, the screenplay is a model of design and economy. The dilemmas remain clear. The solutions mostly make sense.
  23. A Man Called Otto
    The thing still works well enough as a middlebrow hankie dampener.
  24. Karate Kid: Legends
    Neither as fun as the early seasons of Cobra Kai nor as effective as the 2010 reboot, Karate Kid: Legends relies heavily on franchise favourites while bringing nothing new to the party.
  25. The Score
    The triumvirate of actors at the heart of the film are so committed and so good. The songs are pleasing. The script is clever. There’s a charming Aristilean intimacy about the fixed location. Conversely, there are too many ideas and ambitions here to fit into a low-budget picture.
  26. The Cut
    The Cut is ultimately too broad, cliched and preposterous to take the belt. Still, it was brave to go where it went.
  27. Clerks III
    From the moment My Chemical Romance’s Welcome to the Black Parade blasts across the opening credits, this is the unexpectedly moving, nostalgia-soundtracked class reunion that you’ll enjoy despite yourself.
  28. Disenchanted
    What we really needed was something in the vein of the second Scream film – a sequel that, rather than just deconstructing classic Disney tropes, satirised emerging conventions of the streaming sequel.
  29. Studio 666
    Studio 666 is not exactly a good film. It is not a particularly enjoyable one. But it is cheering to know it is out there in the world – merrily not being a tortured autobiographical tale of ghetto life or a compilation of musings on the singer’s sociological concerns.
  30. Wolf Man
    The risky focus that Leigh Whannell, the film’s director, puts on the psychological over the physical may alienate some gorehounds, but it makes for an original shocker with subtexts that linger.
Page:

Top Trailers

See all »
See all trailers »