For 378 reviews, this critic has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 0.1 points higher than other critics. (0-100 point scale)

Derek Elley's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Atonement
Lowest review score: 10 No Such Thing
Score distribution:
  1. Negative: 23 out of 378
378 movie reviews
    • 67 Metascore
    • 70 Derek Elley
    Feature debut by Yank duo Keith Fulton and Louis Pepe isn't so far from their engrossing docus on Terry Gilliam's filmic adventures, "The Hamster Factor" (1996) and "Lost in La Mancha" (2001), except here the madness and exploitation is part of the music scene.
    • 74 Metascore
    • 70 Derek Elley
    Gotham-based documaker Laura Poitras ("Flag Wars") comes up with a still-timely, quietly hard-hitting look at the Iraqi situation with My Country, My Country, focusing on the lead-up to and outcome of the Jan. 30, 2005, Iraq election.
    • tbd Metascore
    • 70 Derek Elley
    A star-loaded, Gotham-set relationships movie that's generally good but works better in bits than as a whole.
    • 70 Metascore
    • 70 Derek Elley
    Manages to pack a satisfying emotional punch.
    • 56 Metascore
    • 70 Derek Elley
    The seductive, sensory prose of Patrick Suskind's bestseller, "Perfume," reaches the screen with loads of visual panache but only intermittent magic.
    • 64 Metascore
    • 70 Derek Elley
    Mixes humor, tragedy, tenderness and political acumen into a well-observed coming-of-age format.
    • 68 Metascore
    • 70 Derek Elley
    Technically, pic is top-drawer, with restless, fluid cutting by Trevor Waite that adds to the unstarchy look, and a copious musical score by Adrian Johnston that gives a separate "sound" to the many locations (a folksy drone for Marygreen, High Baroque music for academic Christminster, and so on).
    • 62 Metascore
    • 70 Derek Elley
    Escalating blend of black humor and grisly goings-on in the wilds of Hungary fully delivers in its latter half.
    • 73 Metascore
    • 70 Derek Elley
    Some general viewers may feel let down by the relatively scant action.
    • 39 Metascore
    • 70 Derek Elley
    Mixed Indian and Western cast --turn the true story of a case that changed British law into an old-style melodrama (in the best sense) complete with a feel-good ending.
    • 46 Metascore
    • 70 Derek Elley
    Slight but sleek, Flirt is still fun.
    • 62 Metascore
    • 70 Derek Elley
    Big emotional themes come hidden in a deceptively small package in Longing, a mightily impressive feature debut by German writer-director Valeska Grisebach.
    • 68 Metascore
    • 70 Derek Elley
    Shaky handheld lensing, terrific cutting and uplifting music build to a grandstand finish in which the main characters are bound tightly into the physical drama. It ain't subtle, but it packs a punch at a simple emotional level.
    • 71 Metascore
    • 70 Derek Elley
    Film's rarity value and still-hot subject matter make this required viewing.
    • 56 Metascore
    • 70 Derek Elley
    This is a thoroughly Euro bedmate to the 1997 "Bean," with the Gauls rather than the Yanks as the butt of Bean's bumblings.
    • 73 Metascore
    • 70 Derek Elley
    Cast of regulars blends like those in a late-on Howard Hawks' movie.
    • 64 Metascore
    • 70 Derek Elley
    With a commanding performance by Sun Haiying as the unbending, ornery father, and a glammed-down Joan Chen remarkable as the boy's devoted mom, pic serves up solid dramatic values instead of being yet another panorama of social and political changes in China during the late 20th century.
    • tbd Metascore
    • 70 Derek Elley
    Rani Mukerji provides the star power, but up-and-coming actress Konkona Sen Sharma is the revelation in Laaga chunari mein daag, a glossy throwback to '90s Bollywood that proves a treat, if you check most of your brains at the door.
    • 63 Metascore
    • 70 Derek Elley
    Despite its sudsy storyline, this second tour through the punk-infested Rio slums could attract more mature arthouse auds, drawn by character rather than the minutiae of guns 'n' drugs, though it's unlikely to match "God's" muscular $7.5 million U.S. take.
    • 45 Metascore
    • 70 Derek Elley
    Both the pic's power and its problems stem from Love deliberately taking no moral position nor offering any solutions; he gives his audience what it wants at a gut level and doesn't wimp out at the end.
    • 58 Metascore
    • 70 Derek Elley
    Money (and maybe a little bit of love) makes the world go around in Lost in Beijing, an involving, highly accessible portrait of an emotional menage a quatre in the modern-day Chinese capital.
    • 69 Metascore
    • 70 Derek Elley
    A long-limbed story that is utterly simple in structure, but decorated with enough character interplay and side plots to keep the movie ticking over to a powerful finale.
    • 50 Metascore
    • 70 Derek Elley
    A sexy, good-looking political bodice-ripper with an almost flawless cast at the top of its game.
    • 62 Metascore
    • 70 Derek Elley
    Tip-top performances, led by young British thesp Jamie Bell, and a deftly handled tone reflecting all the title teen's confused emotions make Hallam Foe a viewing delight.
    • 80 Metascore
    • 70 Derek Elley
    Though there's nothing here that hasn’t been dealt with in other Japanese movies, picture benefits considerably from its pitch-perfect performances.
    • 79 Metascore
    • 70 Derek Elley
    Key casting is aces, led by a deglammed Kim, forcefully low-key as the mother who seems capable of anything to protect her son.
    • 64 Metascore
    • 70 Derek Elley
    Well-groomed, upscale, three-hankie entertainment for the “Masterpiece Theater” crowd.
    • 67 Metascore
    • 70 Derek Elley
    An often grippingly staged mountain movie that's good but not great.
    • 67 Metascore
    • 70 Derek Elley
    3 Idiots takes a while to lay out its game plan but pays off emotionally in its second half.
    • 69 Metascore
    • 70 Derek Elley
    East meets West meets East again, with palate-tingling results, in The Good the Bad the Weird, a kimchi Western that draws shamelessly on its spaghetti forebears but remains utterly, bracingly Korean.

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