For 122 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 2.3 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: 55 out of 122
  2. Negative: 12 out of 122
122 movie reviews
    • 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.
    • 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.
    • 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.
    • 86 Metascore
    • 90 Guy Lodge
    Conventionally constructed but remarkable for the honest, intimate rapport it achieves with highly vulnerable human subjects.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 100 Guy Lodge
    The film’s turn toward the tragic is hardly untelegraphed, but its emotional blows still land with crushing precision.
    • 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.
    • 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.
    • 81 Metascore
    • 80 Guy Lodge
    It etches a sweet, sad and solemnly fatalistic love story between feeding times.
    • 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.
    • 80 Metascore
    • 90 Guy Lodge
    Icily disquieting rather than scary, the film is less an exercise in narrative than in tonal mastery.
    • 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.
    • 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.
    • 78 Metascore
    • 70 Guy Lodge
    This wilfully unpleasant midnight special further demonstrates its helmer’s machete-sharp sense of craft, and puts an interestingly matched ensemble — including an outstanding Imogen Poots — gleefully through the wringer.
    • 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.
    • 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.
    • 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.
    • 77 Metascore
    • 40 Guy Lodge
    If the final effect is somewhat less nuanced than his previous work, it's a good deal more vigorous.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 70 Guy Lodge
    Campillo’s original screenplay demands any number of trusting leaps from its audience and characters alike, yet maintains credibility thanks to the studied assurance of its most elaborate setpieces, and the wealth of socioeconomic detail in its portrayal of both Daniel’s aging-yuppie lifestyle and the nervous group dynamic of the immigrants.
    • 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.
    • 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.
    • 72 Metascore
    • 70 Guy Lodge
    The upshot of this loopy masquerade is more predictable than it is progressive, but considerably pleasurable thanks to Morris’s generous supply of pithy one-liners and the resourceful, ribald skills of Bell, as engaging and elastic a comic everywoman here as she was in her impressive directorial debut “In a World … ”

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