For 166 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% 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: 63
Highest review score: 100 Certain Women
Lowest review score: 10 Plastic
Score distribution:
  1. Positive: 81 out of 166
  2. Negative: 17 out of 166
166 movie reviews
    • 92 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.
    • 88 Metascore
    • 90 Guy Lodge
    Looking, not touching, is the act of choice for a sexually wary gay man in From Afar, and his hands-off approach is shared by the expert storytelling in Venezuelan helmer Lorenzo Vigas’ pristinely poised but deeply felt debut feature.
    • 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.
    • 85 Metascore
    • 100 Guy Lodge
    As with Reichardt’s more streamlined miniatures, regional detail accounts for much of the film’s lingering resonance, as her characters are molded by (and, in some cases, rail against) the landscape they inhabit.
    • 84 Metascore
    • 90 Guy Lodge
    A piercing, poignant and — as befits its subject — beautifully composed exploration of the challenges and responsibilities faced by photojournalists in Afghanistan’s post-Taliban free press.
    • 84 Metascore
    • 100 Guy Lodge
    A War doesn’t seek to break new ground in the ongoing cinematic investigation of the Afghanistan conflict; rather, it scrutinizes the ground on which it stands with consummate sensitivity and detail.
    • 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
    • 80 Guy Lodge
    Greene encourages our curiosity (and even a hint of caution) about documentary perspectives and techniques that other films prefer viewers to take as given.
    • 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
    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.
    • 81 Metascore
    • 60 Guy Lodge
    Sicario occasionally seems a little too impressed by its own nihilism. Still, this is an involving, grown-up film from a director whose muscular technique continues to impress: one might call it pulp in the same manner one would a plate of minced meat.
    • 81 Metascore
    • 80 Guy Lodge
    It etches a sweet, sad and solemnly fatalistic love story between feeding times.
    • 81 Metascore
    • 90 Guy Lodge
    Far from the austere death march it might threaten to be on paper, this is a thrumming, heartsore, sometimes viciously funny character study, sensitive both to the singularities of Chubbuck’s psychological collapse and the indignities weathered by any woman in a 1970s newsroom.
    • 81 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.
    • 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.
    • 80 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.
    • 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
    Acolytes of Brian De Palma’s flavorful, flamboyant filmography hardly need reminding of his acrobatic ability as a visual storyteller; what they’ll learn from De Palma is that in front of the camera, he’s a pretty marvelous raconteur, too.
    • 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.
    • 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.
    • 77 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.

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