For 23 reviews, this critic has graded:
  • 34% higher than the average critic
  • 0% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 6.2 points higher than other critics. (0-100 point scale)

Geoff Andrew's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Unforgiven
Lowest review score: 30 Any Which Way You Can
Score distribution:
  1. Positive: 15 out of 23
  2. Negative: 2 out of 23
23 movie reviews
    • 85 Metascore
    • 100 Geoff Andrew
    A magnificent movie that transcends its familiar tale of a reformed gunman forced by circumstance to resume his violent ways.
    • 96 Metascore
    • 90 Geoff Andrew
    What really transforms the piece from a rather talky demonstration that a man is innocent until proven guilty, is the consistently taut, sweltering atmosphere, created largely by Boris Kaufman's excellent camerawork. The result, however devoid of action, is a strangely realistic thriller.
    • 64 Metascore
    • 90 Geoff Andrew
    With Williams giving a virtuoso fast-mumbling performance as the hero, and gags ranging from expertly choreographed slapstick to subtle verbal infelicities (Popeye muttering about 'venerable disease'), it is far too sophisticated to function merely as kids' fodder. Often, watching the actors contorting themselves into non-human shapes, you wonder how on earth Altman did it; equally often, you feel you are watching a wacky masterpiece, the like of which you've never seen before.
    • 83 Metascore
    • 80 Geoff Andrew
    Though it’s most successful as a character study, the movie also works as an unusually honest variation on the traditional cinematic love story (it rings especially true on the difficulties of starting over after years of settled family life).
    • 65 Metascore
    • 80 Geoff Andrew
    Eschewing metaphor and mysticism (save insofar as his characters adopt them), [Dumont] has for once given us a film of immense visual beauty, thematic clarity and subtle resonance.
    • 88 Metascore
    • 80 Geoff Andrew
    The virtue of Aquarius – the title, incidentally, alludes to the name of the block Clara lives in – is that it never feels the need to sermonise: its ethical, political and psychological insights are carefully contained within a consistently compelling narrative that feels fluid, relevant and true.
    • 90 Metascore
    • 80 Geoff Andrew
    Art, the film suggests, is about first noticing then communing with the world around you. In that sense, it’s another wise, wonderful Jarmusch movie about the importance, in this sad and beautiful world, of friendship and love.
    • 74 Metascore
    • 80 Geoff Andrew
    At once compassionate, engrossing from start to finish, and utterly relevant.
    • 67 Metascore
    • 80 Geoff Andrew
    Scott's sword and sandal spectacular is a bloody good yarn, packed with epic pomp and pageantry, dastardly plots, massed action and forthright, fundamental emotions.
    • 74 Metascore
    • 80 Geoff Andrew
    Despite the film's conspicuously minuscule budget and shaky narrative structure, it is funny. If you value enthusiasm and imagination more than glossy sophistication, you'll laugh.
    • 97 Metascore
    • 80 Geoff Andrew
    Too full of incident to reflect a typical night in reality, it's nevertheless funny, perceptive, pepped up by a great soundtrack, and also something of a text-book lesson in parallel editing as it follows a multitude of adolescents through their various adventures with sex, booze, music and cars.
    • 92 Metascore
    • 80 Geoff Andrew
    Coppola's rethink of his Vietnam War epic is intriguing, but no significant improvement. Some of the added footage is fine, some redundant.
    • 71 Metascore
    • 70 Geoff Andrew
    Given the inevitably knotty plotting, the message is oddly unrevealing, although the film features more than enough intelligently, wittily scripted moments to remain a fascinating insight into a crucial episode in the souring of that old American Dream.
    • 76 Metascore
    • 70 Geoff Andrew
    It's not an action film: there's little in the way of exciting set pieces, and Eastwood's restrained performance is low-key almost to the point of minimalism. Rather, as he slowly tries to tunnel out with a pair of nail-clippers, it's an austere depiction of the tedious routines of prison life, and of the courage and strength of spirit needed in coping with unpleasant warders, tough fellow-inmates, and a life sentence.
    • 65 Metascore
    • 70 Geoff Andrew
    Based on Kurosawa's Yojimbo, it sets a fashion in surly, laconic, supercool heroes with Eastwood's amoral gunslinger, who plays off two gangs against one another in a deadly feud.
    • 57 Metascore
    • 60 Geoff Andrew
    The performances are solid, even if the age difference between the two female leads may strike some as a little disconcerting.
    • 62 Metascore
    • 60 Geoff Andrew
    If there’s nothing profoundly original or insightful here, there’s no denying the atmosphere of squalid authenticity, particularly in the scenes shot on the streets.
    • 40 Metascore
    • 60 Geoff Andrew
    The result, despite an uncertain start, is in the end a surprisingly intriguing and affecting movie.
    • 56 Metascore
    • 50 Geoff Andrew
    For all its audacity, a misguided folly.
    • 51 Metascore
    • 40 Geoff Andrew
    Unfortunately, Arnaud de Pallieres’s film succeeds neither as a decent adaptation of the book nor as a rewarding movie in its own right.
    • 63 Metascore
    • 40 Geoff Andrew
    A wishy-washy, sanctimonious plea for tolerance, directed with Kramer's customary verbosity and stodginess.
    • 61 Metascore
    • 30 Geoff Andrew
    The Bond films were bad enough even with the partially ironic performances of Connery. Here, featuring the stunning nonentity Lazenby, there are no redeeming features.
    • 51 Metascore
    • 30 Geoff Andrew
    Eastwood at his least appealing in a poor sequel to the already disappointing redneck comedy of Every Which Way But Loose. The story is similarly thin - trucker Eastwood, accompanied by his orang-utan buddy Clyde, gets involved in repetitive brawls with sundry unsavoury brutes - while the humour is far too broad and the direction plodding.

Top Trailers