For 32 reviews, this critic has graded:
  • 40% higher than the average critic
  • 0% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 8 points higher than other critics. (0-100 point scale)

Geoff Andrew's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Unforgiven
Lowest review score: 30 On Her Majesty's Secret Service
Score distribution:
  1. Positive: 22 out of 32
  2. Negative: 2 out of 32
32 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 87 Metascore
    • 90 Geoff Andrew
    What makes the film so powerful is both the sympathy it extends towards all the characters (including the seemingly callous parents) and the precise expressionism of Ray's direction. His use of light, space and motion is continually at the service of the characters' emotions, while the trio that Dean, Wood and Mineo form as a refuge from society is explicitly depicted as an 'alternative family'. Still the best of the youth movies.
    • 86 Metascore
    • 80 Geoff Andrew
    Not a lot to it, certainly, but the acting and performances combine to produce an obliquely effective study of the effect of landscape upon emotion, and the wry, dry humour is often quite delicious.
    • 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.
    • 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).
    • 80 Metascore
    • 90 Geoff Andrew
    The film is about storytelling, about how we make connections between people, places, objects and time to create meaning, and how, when these connections shift, meaning changes. Best of all are Screamin' Jay Hawkins and Cinqué Lee as argumentative hotel receptionists hooked on Tom Waits' late night radio show. They, and Jarmusch's remarkably civilised direction, hold the whole shaggy dog affair together, turning it into one of the best films of the year.
    • 80 Metascore
    • 70 Geoff Andrew
    Inevitably softened by hints of self-congratulation concerning the success of Woodward and Bernstein's uncovering of the Watergate affair, Pakula's film is nevertheless remarkably intelligent, working both as an effective thriller (even though we know the outcome of their investigations) and as a virtually abstract charting of the dark corridors of corruption and power.
    • 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.
    • 74 Metascore
    • 80 Geoff Andrew
    At once compassionate, engrossing from start to finish, and utterly relevant.
    • 74 Metascore
    • 80 Geoff Andrew
    Making use of locals instead of professional actors lends authenticity to this impressive look at a group of otherwise innocuous teenage lads in a boring northern French town (Bailleul in Flanders), driven to violence by a mixture of boredom, jealousy, macho pride and ingrained racism.
    • 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.
    • 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.
    • 68 Metascore
    • 80 Geoff Andrew
    As ever with Jarmusch, as the five sequential stories proceed toward their unexpectedly poignant conclusion, there's a touch of the experimental at play; but it's also a film of great warmth. Character prevails throughout, and with the exception of a miscast Ryder, the performances are terrific. Though it may take a while to get Jarmusch's gist, hang in there; by the time Tom Waits growls his lovely closing waltz over the credits, Jarmusch has shown us moments most film-makers don't even notice.
    • 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.
    • 67 Metascore
    • 60 Geoff Andrew
    A scattering of fine one-liners , but one can't help wishing that Allen would investigate pastures new.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 40 Geoff Andrew
    A wishy-washy, sanctimonious plea for tolerance, directed with Kramer's customary verbosity and stodginess.
    • 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.
    • 62 Metascore
    • 50 Geoff Andrew
    It's all a brave try, though Gibson is perhaps not up to the demands of a Christian's progress from naive rating to self-loathing exile, and Donaldson's direction often verges on the stolid.
    • 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.
    • 60 Metascore
    • 80 Geoff Andrew
    Though the writer/director is working abroad and telling a linear story, it's immediately apparent - from the measured pacing, the immaculate compositions and elegant camera movements, the audacious ellipses and the inspired use of music - that this is a hallmarked Davies film. As such, it is extraordinarily moving, notably in a simple, underplayed death scene. Gena Rowlands' performance is a marvel of subtle nuances.
    • 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.
    • 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.

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