For 378 reviews, this critic has graded:
  • 55% higher than the average critic
  • 5% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 3.2 points higher than other critics. (0-100 point scale)

Guy Lodge's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Lobster
Lowest review score: 10 Plastic
Score distribution:
  1. Negative: 23 out of 378
378 movie reviews
    • 52 Metascore
    • 60 Guy Lodge
    It’s uneven practically by design, with a tone that slides all the way from kooky farce to anguished psychological study, just about held together by Mackenzie Davis’s lively, spiky turn in the lead.
    • 63 Metascore
    • 70 Guy Lodge
    Hepburn’s film eschews the expected emotional progression of a grief drama by focusing as much on continuing pain as sudden mourning.
    • 60 Metascore
    • 70 Guy Lodge
    It’s the stars who have to work hardest to sell this kind of egg-white confection, and so they do. Having both charmed individually in previous vehicles, Deutch and Powell combine to winkingly wholesome effect, bringing just enough human self-awareness to their tidy back-and-forth banter to make it palatable.
    • 65 Metascore
    • 70 Guy Lodge
    True to its title, Westwood: Punk, Icon, Activist is chiefly out to gild a remarkable, independent legacy. As the film unrolls its rousing, “Bolero”-scored closing montage of the stunning catwalk visions Westwood has given the fashion world over four decades, you can hardly say it’s undeserved.
    • 73 Metascore
    • 70 Guy Lodge
    Cinematically, Pin Cushion goes all in on a heightened, macramé-and-macaroons aesthetic that occasionally smothers the rawer nerves of its storytelling.
    • 80 Metascore
    • 80 Guy Lodge
    It has the escalating, claustrophobic structure of the darkest farce, but humor doesn’t pile up in Under the Tree so much as it bleeds out.
    • 55 Metascore
    • 50 Guy Lodge
    Opaque and formally ungainly, this itchy meditation on a host of contemporary social ills offers audiences a vividly, deliberately ugly worldview, but finally makes for hollow viewing.
    • tbd Metascore
    • 80 Guy Lodge
    Tracing with exemplary sensitivity the unlikely bond formed between a gay German baker and the Jerusalem-based widow of the man they both loved, Graizer’s film works a complex range of social and religious tensions into its heartsore narrative, without ever feeling sanctimonious or button-pushing.
    • 62 Metascore
    • 70 Guy Lodge
    Even when Rafiki irons out its emotions a little too neatly, however, Mugatsia and Munyiva’s relaxed, sparking chemistry quickens its heartbeat.
    • 85 Metascore
    • 90 Guy Lodge
    There are fleeting moments of wit, bliss and even tenderness amid the gritty severity, as Vidal-Naquet perceptively portrays not just the lonely, drug-fueled rigors of the hustler lifestyle, but the simultaneously competitive and supportive fraternal community that sustains it.
    • tbd Metascore
    • 80 Guy Lodge
    Part loopily queer sci-fi thriller, part faux-naive political rallying cry, glued together with candyfloss clouds of romantic reverie, it’s a film best seen with as little forewarning as possible: To go in blind is to be carried along by its irrational tumble of events as blissfully and buoyantly as its empty-headed soccer-star protagonist.
    • 69 Metascore
    • 70 Guy Lodge
    If not as overtly political as “The Student,” Leto nonetheless represents about as flamboyant a statement of free artistic expression as Serebrennikov could make at this moment: There’s certainly nothing contained or inhibited about its celebration of artists who themselves were given little support or leeway by the Soviet government.
    • 82 Metascore
    • 80 Guy Lodge
    The film, for all its interest in fables, trades less in morals than in equivocal, irony-laced human observation. Rohrwacher deftly skirts sentimentality even as she risks big, expansive poetic gestures.
    • 91 Metascore
    • 90 Guy Lodge
    Cold War may return to “Ida’s” meticulous monochrome aesthetic of “Ida,” but it’s a companion piece with its own tonal and structural energy: less emotionally immediate, perhaps, but immersively informed by the broken jazz rhythms beloved of its protagonist.
    • 77 Metascore
    • 70 Guy Lodge
    Savage’s film thoughtfully and credibly outlines the conflict between a superficially abundant lifestyle and overwhelming internal lack. It’s on less sure footing with the morally fraught wish-fulfilment of its second half, though Arterton’s quiet, consistent emotional conviction pulls matters through.
    • tbd Metascore
    • 80 Guy Lodge
    Exit Music covers the spectrum with grace, good humor and no emotional filter: It’s an unabashed tear-jerker that earns its saltwater through candor rather than undue manipulation.
    • 90 Metascore
    • 90 Guy Lodge
    Itself crafted with great artistry and ingenuity, McQueen works both as a spectacular visual album of his work and an achingly moving account of the incomplete life behind it.
    • 68 Metascore
    • 80 Guy Lodge
    It’s a loving showcase for its star’s most finely wrought powers of expression, but equally beguiling as a display of its first-time helmers’ gentle observational acuity and surprisingly inventive visual storytelling.
    • 74 Metascore
    • 80 Guy Lodge
    Upgrading a sleeping-with-the-enemy premise familiar from countless B-thrillers with a faintly mythic aura and cool psychosexual shading, Beast also sustains a fresh, frank feminine perspective through Jessie Buckley’s remarkable lead performance.
    • 72 Metascore
    • 70 Guy Lodge
    If Considine doesn’t seem to know his characters as intimately as he did in his debut, however, he still knows acting inside out. It’s his unguarded conviction in the lead — and that of a superb Jodie Whittaker as his devoted but devastated wife — that finally lands Journeyman a victory on points, if not quite a knockout blow.
    • 55 Metascore
    • 70 Guy Lodge
    If the story’s political and personal nuances have been a bit flattened in Balaker’s script, keeping proceedings in a movie-of-the-week register, this Little Pink House nonetheless retains what property developers would call good bones.
    • 64 Metascore
    • 50 Guy Lodge
    Undemanding yet never quite effortless, agreeable yet never quite engrossing, The Guernsey Literary and Potato Peel Pie Society has fewer stumbling points than its loopy title, but that title sticks for longer than the rest of it.
    • 55 Metascore
    • 60 Guy Lodge
    It’s a commendable departure, even if you can sense the helmer struggling to get the lay of the land at certain intersections in this heartfelt tale of an impoverished brother and sister seeking roundabout justice when she’s imprisoned for attempted murder.
    • 64 Metascore
    • 70 Guy Lodge
    This Is Home gestures toward a more detailed, heterogeneous understanding of these war victims as human beings, characterizing its four chosen families in detailed, individual terms, and listening attentively to their varied expressions of ambition and concern for their new future.
    • 87 Metascore
    • 100 Guy Lodge
    The spare, classical chase drama that ensues is seeded with barbed observations on colonialism, cultural erasure and rough justice, kept poetically succinct by Thornton’s lithe, soaring visual storytelling.
    • 68 Metascore
    • 70 Guy Lodge
    There’s the phantom of a psychothriller for the ages inside “Ghost Stories” that never quite fights its way out of the film’s tightly structured creepshow homage, but the goosebumps it raises are real, and honestly earned.
    • tbd Metascore
    • 30 Guy Lodge
    Inasmuch as one can complain about a film having plot holes when it hinges entirely on a magic cellphone app, much of “Status Update” feels cursory and unconsidered by its hokey standards.
    • 49 Metascore
    • 60 Guy Lodge
    It’s left to Stone to prop up the whole scented-tissue affair, and that she cheerfully does, with a calm, centered force of personality that lends credibility even to the most raggedly developed aspects of her character.
    • 55 Metascore
    • 60 Guy Lodge
    Even when the chips are down, every boy’s adorable beret looks box-fresh. It’s the boys themselves, however, who often cut through the Camembert to deliver a shot of honest, imperilled feeling.
    • 76 Metascore
    • 90 Guy Lodge
    A sly, supple and repeatedly surprising collision of literary, moral and political lines of debate that marks an enthralling return to form for writer-director Laurent Cantet.

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