For 93 reviews, this critic has graded:
  • 58% higher than the average critic
  • 3% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Guy Lodge's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Dawn of the Planet of the Apes
Lowest review score: 10 Plastic
Score distribution:
  1. Positive: 40 out of 93
  2. Negative: 9 out of 93
93 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.
    • 83 Metascore
    • 100 Guy Lodge
    The film’s turn toward the tragic is hardly untelegraphed, but its emotional blows still land with crushing precision.
    • 78 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.
    • 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.
    • 80 Metascore
    • 90 Guy Lodge
    Icily disquieting rather than scary, the film is less an exercise in narrative than in tonal mastery.
    • 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.
    • 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.
    • 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.
    • 79 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.
    • 76 Metascore
    • 90 Guy Lodge
    Robert Greene's extraordinary collaboration with actress Brandy Burre is a playful, provocative examination of self-performance.
    • 68 Metascore
    • 80 Guy Lodge
    The film keeps its good-evil borders compellingly supple, at least until a wobbly finale that requires Sarah to act like the Hollywood heroine she has so strenuously avoided becoming. It’s a minor blot on a film otherwise propulsively alive with prickly politics.
    • 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.
    • 90 Metascore
    • 80 Guy Lodge
    Ultimately story is secondary to Russell’s delicious detailing of character and milieu.
    • 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.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 80 Guy Lodge
    It etches a sweet, sad and solemnly fatalistic love story between feeding times.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 80 Guy Lodge
    Distinguished by exquisite performances from Emmanuelle Devos and Mathieu Amalric as a bourgeois couple unsure when to call time on their marriage, the pic initially follows the dry, droll template set by so many tasteful French relationship dramedies, before venturing into less comforting emotional territory for its final act.
    • 53 Metascore
    • 70 Guy Lodge
    Redundancy remains a problem, but this overlong superhero sequel gets by on sound, fury and star chemistry.
    • 52 Metascore
    • 70 Guy Lodge
    It’s a less playful enterprise than the original, but meets the era’s darker demands for action reboots with machine-tooled efficiency and a hint of soul.
    • 67 Metascore
    • 70 Guy Lodge
    Soul music’s alleged redemptive powers are fully at work in this jumbled, sketchily written but vastly appealing true-life musical comedy.
    • 66 Metascore
    • 70 Guy Lodge
    A sly, insidious and intermittently hilarious domestic thriller.
    • 56 Metascore
    • 70 Guy Lodge
    Powered by a vigorous, image-shedding lead turn from James McAvoy as a coked-up Edinburgh detective on the fast track to either promotion or self-implosion, this descent into Scotch-marinated madness begins as ugly comedy, segues almost imperceptibly into farcical tragedy, and inevitably — perhaps intentionally — loses control in the process.
    • 51 Metascore
    • 70 Guy Lodge
    A straightforward account of the show’s journey from conception to rehearsal to Great White Way triumph, it effectively doubles as a traditional let’s-put-on-a-show musical in its own right, albeit one with heavier guitars.
    • 71 Metascore
    • 70 Guy Lodge
    That We Are What We Are steers just shy of silliness even at its most outrageous is in large part thanks to a committed cast of non-disposable character actors.
    • 75 Metascore
    • 70 Guy Lodge
    Avranas’ film employs an irony-free meter that certainly distinguishes his work from that of Lanthimos or Athina Rachel Tsangari, and lends the film’s most explicitly severe sequences of domestic and sexual abuse a kind of cumulative numbing power.
    • 49 Metascore
    • 70 Guy Lodge
    Michael Polish’s Big Sur offers an elegantly muted take on the midlife ennui of Kerouac’s autobiographical 1962 novel.
    • 77 Metascore
    • 70 Guy Lodge
    Affectionately honoring the everyday quirks of Bond’s stories, while subtly updating their middle-class London milieu, King’s film may divide loyal Paddingtophiles with its high-stakes caper plot, but their enraptured kids won’t care a whit.
    • 63 Metascore
    • 70 Guy Lodge
    Unexpectedly but effectively cast in a role that plays to his sullen strengths, Pitt has a palpable, playful rapport with Arianda, a Tony-winning Broadway ingenue whose warm, expressive features and tinderbox comic timing recalls the young Marisa Tomei.
    • 44 Metascore
    • 70 Guy Lodge
    Neither as striking nor as fundamentally scary as its predecessor, this pumped-up, robustly crafted pic is still quite a ride.
    • 60 Metascore
    • 70 Guy Lodge
    [A] good, middlebrow adaptation — which, despite being scripted by Banville himself, sacrifices much of the novel’s structural intricacy for Masterpiece-style emotional accessibility.
    • 46 Metascore
    • 70 Guy Lodge
    As appealingly humanized by Collins and Claflin, Rosie and Alex are sufficiently flawed, three-dimensional beings for their continued attachment to each other to convince.
    • 67 Metascore
    • 70 Guy Lodge
    Alluring if not especially illuminating.
    • 71 Metascore
    • 70 Guy Lodge
    This dynamically acted, unapologetically contrived pic reps the filmmaker’s best chance to date of connecting with a wider audience — one likely to share the helmer’s bristling anger over corruptly maintained class divides in modern-day America.
    • 62 Metascore
    • 60 Guy Lodge
    Its repetitive qualities are beyond reproach. Every bit as amiable and disposable as its predecessor, it recycles everything from slapstick gags to its own voice cast.
    • 59 Metascore
    • 60 Guy Lodge
    The narrative’s time-travel element allows for plenty of fluffy, fleet-footed action.
    • 48 Metascore
    • 60 Guy Lodge
    It’s all extravagantly daft, moves at a fair clip and is over before you expect it to be.
    • 41 Metascore
    • 60 Guy Lodge
    The thrills and the effects are cheap, but this is in hard-driving, good-humoured command of its own silliness.
    • 49 Metascore
    • 60 Guy Lodge
    A proficient but personality-free policer that demands little of either its audience or its enviable best-of-British cast, this simplistic urban morality tale miscasts the appealing James McAvoy as one good cop whose dogged pursuit of Mark Strong’s alpha criminal only uncovers the rot within police ranks.
    • 76 Metascore
    • 60 Guy Lodge
    Mud
    It’s a broader, starrier project than either of Nichols’s previous films, and he handles the transition to the major league with relative confidence.
    • 34 Metascore
    • 60 Guy Lodge
    Don’t tell Liam Neeson, but someone had the gall to make a violent Euro-thriller about a rampaging American dad without him. And not a bad one either.
    • 73 Metascore
    • 60 Guy Lodge
    There’s typical grace and good humour in Kore-eda’s handling of this all-but-impossible situation. But the film’s critical lack of dramatic nuance undercuts its emotional resonance.
    • 59 Metascore
    • 60 Guy Lodge
    The film is easier to admire than it is to invest in emotionally, though its pulse quickens with a dramatic, and boldly untelegraphed, feminist twist in the rural-set final reel.
    • 84 Metascore
    • 60 Guy Lodge
    Tsai here seems to be stripping his ornately eccentric style down to formal fundamentals. A certain pictorial grace remains; his sense of humor, sadly, appears to have been largely tossed out with the bathwater.
    • 44 Metascore
    • 60 Guy Lodge
    Attention is retained by the commendably unhistrionic leads, who convincingly etch the pair’s enduring devotion even when passions run dry.
    • 52 Metascore
    • 60 Guy Lodge
    [An] amiable but flat-footed debut feature.
    • 57 Metascore
    • 60 Guy Lodge
    It’s as handsomely shot as any film about an ace shutterbug ought to be, and Binoche infuses familiar internal crises with palpable pain and urgency.
    • 61 Metascore
    • 60 Guy Lodge
    [An] appealingly absurd thriller.
    • 40 Metascore
    • 60 Guy Lodge
    An arrestingly nihilistic Depression melodrama, marked by courageous performances and exquisite production values... The result is both problematic and fascinating, an unsympathetic spiral of human tragedy that plays a little like a hand-me-down folk ballad put to film.
    • 54 Metascore
    • 60 Guy Lodge
    An enthusiastic but low-fizz romantic farce that gets by principally on the charms of a cast speckled with gifted funnymen (and, more particularly, funnywomen).
    • 51 Metascore
    • 60 Guy Lodge
    The rare prestige pic that could actually stand to be longer.
    • 43 Metascore
    • 60 Guy Lodge
    There’s enjoyably smutty comedy to spare... but the film’s bleakest segments are actually its strongest.
    • 50 Metascore
    • 60 Guy Lodge
    The upside for Saint Laurent’s admirers is that Bonello’s film reflects more of the designer’s tortured creative drive in its dark onyx surfaces; it’s the slightly deranged auteur portrait that a fellow artist and iconoclast deserves.
    • 72 Metascore
    • 60 Guy Lodge
    While this appropriately brief film unravels its enigma at a tidy clip, it gathers neither enough heat, nor quite enough of a chill, to linger in the bones.
    • 53 Metascore
    • 60 Guy Lodge
    Earnest issue drama and pulpy B-thriller mechanics make awkward but not uncompelling bedfellows in Honour.
    • 67 Metascore
    • 60 Guy Lodge
    The consistently celebratory stance of “Kink” is commendable, but also feels somewhat limiting.
    • 47 Metascore
    • 60 Guy Lodge
    It’s a thin premise that cues much cheery knockabout comedy, with ample scope for impressively whooshy 3D tracking shots.
    • 54 Metascore
    • 60 Guy Lodge
    Mellow, digestibly sweet and embellished with lovely folk tunes, this modest bit of Americana reveals pleasing new sides of both leads.
    • 61 Metascore
    • 60 Guy Lodge
    As ruggedly crafted as you’d expect from director Kevin Macdonald, with a sturdy ensemble led by Jude Law as a submarine captain of formidable sangfroid, the film nonetheless never quite sparks to life.
    • 57 Metascore
    • 60 Guy Lodge
    Seemingly caught between a daring impressionistic approach and a pedantic recital of dates and locations, this three-hour endurance test is marked by sincere adoration of its subject.
    • 64 Metascore
    • 50 Guy Lodge
    Well-meaning but dated and frequently risible issue-drama.
    • 40 Metascore
    • 50 Guy Lodge
    The voice ensemble is game, if not especially well matched.
    • 42 Metascore
    • 50 Guy Lodge
    Salaciously watchable but finally hokey.
    • 42 Metascore
    • 50 Guy Lodge
    Both stars are in agreeable if uncharacteristically muted form, doing little to distinguish Genz’s pic from any amount of formula-following filler in the same B-movie ballpark.
    • 24 Metascore
    • 50 Guy Lodge
    Correctly ascertaining that auds will be less interested in the outcome than in the obstacles along the way, Levasseur plants and executes the pic’s exclamation-point scares with grinning, squelching gusto.
    • 45 Metascore
    • 50 Guy Lodge
    It’s a rare pleasure to see Tomei in a lead role, and she fills out the short cuts in Lawrence’s characterization with wry warmth and a hint of swallowed disappointment.
    • 60 Metascore
    • 40 Guy Lodge
    This turgid return papers over the previous film’s narrative, but creates little in the way of a fresh character arc.
    • 42 Metascore
    • 40 Guy Lodge
    It’s a testament to the duo’s jazzy comic chemistry that they wring some laughs from this dated, frankly sinister premise.
    • 63 Metascore
    • 40 Guy Lodge
    Just about every charge of social negligence leveled at Spring Breakers can be countered with an arch claim of intent, which makes it at once playful and wearying; enjoyment is contingent on how little you're willing to fight it.
    • 48 Metascore
    • 40 Guy Lodge
    At least Cameron Diaz gives it some welly as the gold-toothed femme fatale who may or may not hold all the cards.
    • 77 Metascore
    • 40 Guy Lodge
    If the final effect is somewhat less nuanced than his previous work, it's a good deal more vigorous.
    • 42 Metascore
    • 40 Guy Lodge
    A glossy, well-meaning but dramatically listless study of class relations in contemporary Paris.
    • 50 Metascore
    • 40 Guy Lodge
    For all the philosophical and metaphorical shortcomings of his script, however, DeMonaco is an efficient orchestrator of action.
    • 41 Metascore
    • 40 Guy Lodge
    There’s perilously little playfulness to be found either in the script or its otherwise handsomely ashen cinematic treatment.
    • 51 Metascore
    • 40 Guy Lodge
    Clothes make the man, but can’t save the film, in Yves Saint Laurent, in which the life of one of haute couture’s great innovators gets disappointingly by-the-numbers treatment.
    • 38 Metascore
    • 40 Guy Lodge
    Kids still experiencing World Cup withdrawal symptoms may be entertained by this animated oddity from Argentina.
    • 24 Metascore
    • 30 Guy Lodge
    There’s digital wizardry galore in this Beauty and the Beast, but precious little magic.
    • 28 Metascore
    • 30 Guy Lodge
    It’s hard for the audience to invest in a protagonist this solipsistic.
    • 45 Metascore
    • 30 Guy Lodge
    Strained, sexist schlock, which raises zero jolts and only fitful chuckles with its gamely performed tale.
    • 44 Metascore
    • 20 Guy Lodge
    Given an inch by the surprise success of his raunchy teddy-bear romp Ted, writer-director-star MacFarlane now takes a drastically overlong mile with a film that flatters his moderate talent and subzero leading-man charisma at every turn.
    • 31 Metascore
    • 20 Guy Lodge
    [A] stunningly joke-free comedy-horror hybrid.
    • 22 Metascore
    • 20 Guy Lodge
    Writer-director Jonathan English’s dank-looking film delivers enough amputations, decapitations and other instances of rusty-bladed gore to distract undiscerning genre fans stuck between seasons of “Game of Thrones,” but serves no other obvious purpose.
    • 32 Metascore
    • 10 Guy Lodge
    A dismal My First Heist thriller that is all-too-aptly nailed by its own title.

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