For 123 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

Guy Lodge's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Lobster
Lowest review score: 10 Plastic
Score distribution:
  1. Positive: 56 out of 123
  2. Negative: 12 out of 123
123 movie reviews
    • 79 Metascore
    • 100 Guy Lodge
    An altogether smashing sequel to 2011′s better-than-expected “Rise of the Planet of the Apes,” this vivid, violent extension of humanoid ape Caesar’s troubled quest for independence bests its predecessor in nearly every technical and conceptual department.
    • 80 Metascore
    • 100 Guy Lodge
    Not merely a story of interspecies hierarchy, then, White God also puts forward a simple but elegant metaphor for racial and class oppression, as the outcast (or even outcaste) masses, sidelined in favor of the elite few, band together to assert their collective strength.
    • 85 Metascore
    • 100 Guy Lodge
    Fearsomely visceral and impeccably performed, it’s a brisk, bracing update, even as it remains exquisitely in period.
    • 83 Metascore
    • 100 Guy Lodge
    A wickedly funny protest against societal preference for nuclear coupledom that escalates, by its own sly logic, into a love story of profound tenderness and originality.
    • 91 Metascore
    • 100 Guy Lodge
    So involving is the raw content of The Look of Silence that some might view its formal elegance as mere luxury, yet the film reveals Oppenheimer to be a documentary stylist of evolving grace and sophistication.
    • 83 Metascore
    • 100 Guy Lodge
    The film’s turn toward the tragic is hardly untelegraphed, but its emotional blows still land with crushing precision.
    • 68 Metascore
    • 90 Guy Lodge
    Though the film comprehensively details the political and economic subtleties of what it declares “the crime of the century,” its narrative remains primarily a human-focused one, highlighting the stories of selected steadfast victims, as well as the heroic movers and shakers in the struggle.
    • 83 Metascore
    • 90 Guy Lodge
    '71
    A vivid, shivery survival thriller that turns the red-brick residential streets of Belfast into a war zone of unconscionable peril.
    • 87 Metascore
    • 90 Guy Lodge
    It’s the rare film about adolescence that doesn’t seem exclusively targeted either to teens or to adults. Rarer still, it’s one that takes an interest in the nourishing qualities of female friendship.
    • 69 Metascore
    • 90 Guy Lodge
    This complex, compassionate film finds both wicked humor and, less expectedly, transcendent hope in America’s gaudy fixation with Christmas spirit.
    • 80 Metascore
    • 90 Guy Lodge
    Icily disquieting rather than scary, the film is less an exercise in narrative than in tonal mastery.
    • 77 Metascore
    • 90 Guy Lodge
    Simply relating the narrative of Andrew Dosunmu’s seductive immigrant drama Mother of George would do little to convey the film’s stark, poetic power, much less its extraordinary visual and sonic acumen.
    • 86 Metascore
    • 90 Guy Lodge
    Conventionally constructed but remarkable for the honest, intimate rapport it achieves with highly vulnerable human subjects.
    • 76 Metascore
    • 90 Guy Lodge
    Robert Greene's extraordinary collaboration with actress Brandy Burre is a playful, provocative examination of self-performance.
    • 76 Metascore
    • 80 Guy Lodge
    Audiences may come down from the high a little sooner than the film does, with the characters’ increasingly ill-considered actions testing our faith and engagements to the breaking point, but the sheer centripetal force of the film’s vigorous technique never loses its hold.
    • 70 Metascore
    • 80 Guy Lodge
    Assisted by the superb performances of his two young, refreshingly unaffected leads, Carbone has a profound understanding of the close but conflicted bond that exists between brothers on either side of the puberty divide.
    • 49 Metascore
    • 80 Guy Lodge
    It’s a film that purists might insist isn’t horror in the strictest sense, though this slow-burning investigation of unseemly goings-on at a rural Christian commune is frightening in any genre language.
    • 81 Metascore
    • 80 Guy Lodge
    It etches a sweet, sad and solemnly fatalistic love story between feeding times.
    • 76 Metascore
    • 80 Guy Lodge
    The Guest is not new, exactly, but Wingard knows just which buttons to push, and he pushes them with gusto. Stevens, meanwhile, has never been better.
    • 67 Metascore
    • 80 Guy Lodge
    Bjork’s charm has always hinged on her ability to be guileless and unknowable at once; “Biophilia Live” is no exception.
    • 63 Metascore
    • 80 Guy Lodge
    Kay Cannon’s script is even lighter on narrative than its predecessor, but fills any resulting void with a concentrated supply of riotous gags, and a renewed emphasis on the virtues of female collaboration and independence.
    • 64 Metascore
    • 80 Guy Lodge
    Just as Niccol’s narrative structure is at once fraught and immaculate in its escalation of ideas and character friction, so his arguments remain ever-so-slightly oblique despite the tidiness of their presentation.
    • 91 Metascore
    • 80 Guy Lodge
    The alternately playful and elegiac Stories We Tell is wholly of a piece with her fiction work, and just as rewarding.
    • 77 Metascore
    • 80 Guy Lodge
    Though realized on a more modest scale than other Aardman features, the film is still an absolute delight in terms of set and character design, with sophisticated blink-and-you’ll-miss-it detailing to counterbalance the franchise’s cruder visual trademarks.
    • 85 Metascore
    • 80 Guy Lodge
    Amy
    Hardly innovative in form, but boasting the same depth of feeling and breadth of archival material that made Kapadia’s “Senna” so rewarding, this lengthy but immersive portrait will hit hard with viewers who regard Winehouse among the great lost voices not just of a generation, but of an entire musical genre.
    • 71 Metascore
    • 80 Guy Lodge
    It’s an improbably exciting match of knife-edge storytelling and a florid vintage aesthetic best represented by Gabriel Yared’s glorious orchestral score.
    • 82 Metascore
    • 80 Guy Lodge
    Hostage thrillers are all-too-often shrill affairs, with clock-watching screenwriters wringing maximum melodrama from spiraling disorder. Not so Tobias Lindholm’s superb A Hijacking, which actually grows more chillingly subdued as its nightmare scenario unfolds.
    • 78 Metascore
    • 80 Guy Lodge
    Ex Machina turns out to be far wittier and more sensual than its coolly unblemished exterior implies; it’s a trick that mirrors Ava’s own apparent Turing-test-defying evolution.
    • 90 Metascore
    • 80 Guy Lodge
    Ultimately story is secondary to Russell’s delicious detailing of character and milieu.
    • 65 Metascore
    • 80 Guy Lodge
    A measured, moving account of a brief period in the later life of the troubled sculptress, could hardly be the work of anyone else, with its sparseness of technique and persistent spiritual curiosity.

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