The Observer (UK)'s Scores

For 1,640 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Enys Men
Lowest review score: 20 Book Club: The Next Chapter
Score distribution:
1640 movie reviews
  1. Tarik Saleh’s political saga turns progressively knottier and more claustrophobic, almost to a fault. But it’s also horribly tense, richly textured and showcases a terrific supporting performance from Fares as the tale’s shadowy Thomas Cromwell figure.
  2. By the end, his getaway car is almost as riddled with holes as the plot itself.
  3. It’s a thorough, measured, often illuminating portrait, aided by readings from Highsmith’s unpublished diaries and interviews with her ex-lovers.
  4. Hansen-Løve hits a career high note, delivering a quietly thoughtful and ultimately life-affirming portrait of the strange interaction between loss and rebirth. It’s a miraculous balancing act that pretty much took my breath away.
  5. Shinkai casts a spell in the moment, but the magic fades away.
  6. Your standard vampire film would have put Cage centre stage. Renfield, God help it, elects to bury the lede and drive a stake through his heart.
  7. There’s a strong element of myth and magic at work here too, most notably in the recitation of an eerie dream about mating eels and mass infidelity, and in the sight of the body of a horse rotting over a period of years and returning to the earth. It all adds to the film’s haunting appeal.
  8. This handsome biopic by Lasse Hallström, with his daughter Tora Hallström in the role of the younger Hilma, attempts to redress the balance.
  9. The Super Mario Bros Movie is a frantic Easter egg hunt of a film that does the bare minimum to please its loyal existing fanbase. Those less enthralled by the antics of the moustachioed Italian plumber will wonder which of Donkey Kong’s weaponised barrels this joyless, noisy mess was scraped from.
  10. And here’s the problem for Statham’s super spy: for all the Ukrainian gangsters he nuts and helicopters he pilots, Orson Fortune is just not particularly interesting or fleshed out as a character. Plaza and Grant, meanwhile, steal every scene they touch.
  11. Air
    For all its affable charm, there’s something slippery and disingenuous about this film.
    • 61 Metascore
    • 60 Critic Score
    Ultimately, if the film is entertaining – and it is, sporadically at least – it’s as much to do with the reliably engaging Taron Egerton in the central role of embattled businessman Henk Rogers, as it is with the wiretaps, honey traps and sneering Soviet security forces.
  12. This solid but familiar drama is acted with conviction; Watson and Mescal are equally compelling. But there’s only so much a quality performance can do – and the film leans heavily on shots of Watson’s troubled face – when the material is a well-meaning but dourly rote exploration of cycles of violence.
  13. Földes’s matter-of-fact approach to storytelling balances the tendency towards quirkiness in the material. Dream logic coexists with the crushingly mundane, in a picture that also showcases the director’s musical talents with an intricate and involving score.
  14. This crime caper has a certain frenzied energy, but it’s sloppily plotted, crass and so dumb, you wouldn’t trust it to use cutlery unsupervised.
  15. When the film is this much fun, who cares if Grant recycles some of the greatest hits from his gag repertoire?
  16. Blending science fiction and magical realism, environmental catastrophe and family secrets, Francisca Alegría’s heady mystery is an ambitious and murkily atmospheric debut.
  17. Küppenheim is terrific, her precision and restraint in the role drawing us into the story.
  18. The result will leave you with a smile on your face, a spring in your step and (hopefully) a renewed confidence in next-wave British film-making.
  19. Deftly written, directed with a light hand and acted with honesty and heart, the picture captures moments of acute sadness without ever sinking into sentimentality.
  20. Billy’s inane babbling gets a little wearing, but the action sequences, featuring dragon-based mayhem, cyclopes and an army of formidable hell unicorns hopped up on candy, are pacy and fun.
  21. Goth is riotously entertaining throughout, but two specific scenes, in both of which the camera rests solely on her face for an extended shot, capture the full force of her unnerving talent.
  22. The only notable development is just how rapidly a satirical skewering of genre formulas can become thuddingly formulaic.
  23. The Champions ensemble takes this to the next level, showcasing a host of rising talent, with particular plaudits to Tevlin and Iannucci, both of whom have scene-stealing charisma and note-perfect comic timing to spare.
  24. Lunana’s appeal is hard to miss: though rather naive in its messaging and unashamedly sentimental, the film is so pure of spirit and so open-hearted, you want to breathe it in, to fill your lungs with it.
  25. Approach with a strong stomach, and don’t bother trying to keep a tally of the body count.
  26. Astonishingly natural and engaging performances from young newcomers Eden Dambrine and Gustav De Waele lend heartfelt authenticity to a film that builds upon the promise of 2018’s Girl, confirming Dhont as a deft and empathetic chronicler of the tumultuous anguish and ecstasy of adolescence.
  27. Jordan is doing double duty here, directing as well as starring in this solidly by-numbers chapter in the ongoing Creed saga. He does a workmanlike job – the fight sequences are thrillingly visceral, but his weakness for cheesy montages and the film’s formulaic screenplay ensure that the picture was never going to take the franchise anywhere new.
  28. Shipton is a fascinating character – abrupt, ill at ease with the voracious press attention, but also possessed of a sharp, unusual intelligence that tends to veer off at jarring tangents.
  29. What Enys Men “means” will differ for each viewer. For me, it is (like Bait) a richly authentic portrait of Cornwall, far removed from any tourist-friendly vision. . . I’ve seen the film three times so far, and I can’t wait to dive into it and be swept away again. Bravo!

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