For 152 reviews, this critic has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 4.1 points higher than other critics. (0-100 point scale)

Ian Nathan's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Time Bandits
Lowest review score: 20 Orca
Score distribution:
  1. Positive: 71 out of 152
  2. Negative: 3 out of 152
152 movie reviews
    • 53 Metascore
    • 60 Ian Nathan
    A flawed work held together by Alwyn’s tender presence.
    • 58 Metascore
    • 60 Ian Nathan
    Despite moody flashbacks to the Nazi takeover, Hirschbiegel draws a blank. Elser remains an enigma, a great what-if whose German torturers cannot comprehend acted alone.
    • 49 Metascore
    • 60 Ian Nathan
    Vallée’s post-traumatic stress comedy is more scientific than genuinely moving. Nevertheless, Gyllenhaal continues his post-Nightcrawler upgrade with another vivid performance in the key of strange.
    • 47 Metascore
    • 40 Ian Nathan
    For all the special effects and half-starved A-listers, this is a sodden beast. Perhaps there’s a reason that Melville only told half the story.
    • 67 Metascore
    • 60 Ian Nathan
    Charming in that neurotically adorable way Charles Schulz established over many years, this is a fond continuation of the Snoopyverse.
    • 68 Metascore
    • 80 Ian Nathan
    By smuggling canvasses out of Nazi Paris, she was “midwife” to Pollock and Rothko. “Art,” the doc claims, “was a mirror of her own strangeness.”
    • 81 Metascore
    • 80 Ian Nathan
    So godlike is Spielberg’s status that we often take his talents for granted. The strange, riveting mix of Bridge Of Spies is another sterling reminder that we shouldn’t.
    • 82 Metascore
    • 100 Ian Nathan
    Really smart people on a really smart person: Fassbender, Winslet, Sorkin and Boyle await Oscar nominations. But for all its relevance and grandeur, Steve Jobs is ridiculously entertaining. You might say, user-friendly.
    • 70 Metascore
    • 80 Ian Nathan
    Unshowy to a fault, Hytner delivers a fine, moving comedy of English manners between a writer and his eccentric tenant, which slowly deepens into an exploration of human bonds.
    • 75 Metascore
    • 80 Ian Nathan
    At times it feels as if five different films are going on at once, but Schumer’s whip-smart delivery and no-holds perkiness keeps it all in place. Just as her director wilfully mines his own life for laughs, there is a whole lot of Amy in Amy.
    • 75 Metascore
    • 80 Ian Nathan
    Easily, almost nonchalantly, best in franchise, Rogue Nation dispenses with the dead weight of realism or relevance for state-of-the-art thrill-making in a classical mould. The series has finally found its voice.
    • 67 Metascore
    • 80 Ian Nathan
    If director Chuck Workman maps a familiar rise and fall of rule-breaking brilliance it is vindicated by the great raconteur and in-depth praise from an impressive roster.
    • 68 Metascore
    • 80 Ian Nathan
    Less vibrant than the original, but equally thoughtful and funny.
    • 90 Metascore
    • 100 Ian Nathan
    Max’s re-enfranchisement is a triumph of barking-mad imagination, jaw-dropping action, crackpot humour, and acting in the face of a hurricane.
    • 37 Metascore
    • 60 Ian Nathan
    On one level a fascinating refraction of the Amanda Knox trial into an examination of perception, on another an increasingly trying hall of mirrors.
    • 81 Metascore
    • 80 Ian Nathan
    Take it from us — ignorance is bliss. The less you try to figure out Anderson’s rambling, mesmerising mystery, the better. Just relax and let this beautiful, haunting, hilarious, chaotic, irritating and possibly profound tragicomedy wash over you. There is nothing else out there like it.
    • 72 Metascore
    • 80 Ian Nathan
    Oscar heralds will no doubt dub it "The Hurt Locker" for snipers, but the fitting combo of Clint Eastwood and Bradley Cooper have created a thrilling Iraq war story that manages to both honour the necessities of heroism and ruminate on what heroism might cost a man.
    • 59 Metascore
    • 60 Ian Nathan
    Lavish and sporadically powerful, Jolie's POW biopic may have just enough gravity to entice the Academy, but struggles to bring truth to an unbelievable truth.
    • 94 Metascore
    • 100 Ian Nathan
    Shimmering with awards potential, Leigh’s glorious picture is a hilarious, confounding, wholehearted and dazzlingly performed portrait of an artist as an ageing man.
    • 64 Metascore
    • 60 Ian Nathan
    A persuasive, warts-and-bolts depiction of warfare from the guts of a tank yoked to an overwrought, sub-Private Ryan account of innocence under fire — so a hit and a miss.
    • 67 Metascore
    • 80 Ian Nathan
    The Canadian horror maestro scrapes away the surface of Hollywood to discover a magnificently Cronenbergian outbreak of tortured families, reprehensible behaviour and extreme violence.
    • 54 Metascore
    • 60 Ian Nathan
    Weightless, but not without its enchantments, this is Woody Allen coasting. But where better to coast than the loveliest coast of all?
    • 73 Metascore
    • 60 Ian Nathan
    For all its chilled intelligence and topical ambition this is a bloodless adaptation, but worth seeing for Hoffman’s deft and ghostly presence.
    • 61 Metascore
    • 60 Ian Nathan
    What begins as a thrilling pastiche of comic-book formula gets bogged down in its own scientific prattle — not that you ever stop adoring Johansson’s magnificent heroine.
    • 51 Metascore
    • 40 Ian Nathan
    An uneven debut from John Slattery that nonetheless shows flashes of flair and a jet-black sense of humour.
    • 79 Metascore
    • 80 Ian Nathan
    A superbly mounted, powerfully performed, if slightly underfed Apes sequel. That Reeves is set to direct Untitled Of The Planet Of The Apes next is cause for much celebration. This guy’s fur real. No pun intended.
    • 53 Metascore
    • 60 Ian Nathan
    For all it boasts in ingenious style, this genial American yarn lacks the delicious bile of Jenuet’s early days.
    • 78 Metascore
    • 80 Ian Nathan
    However familiar the terrain, this is a vivid, heartbreaking and captivating character piece and travel movie in one, guided by an outstanding Wasikowska.
    • 79 Metascore
    • 80 Ian Nathan
    Haunting and idiosyncratic, Jarmusch’s vampire marriage preaches to the converted, but he’s in fine voice nonetheless.
    • 90 Metascore
    • 80 Ian Nathan
    Her
    Jonze has made a sweet, smart, silly, serious film for our times, only set in the future.
    • 84 Metascore
    • 80 Ian Nathan
    Get this — Matthew McConaughey is currently the most exciting acting talent at work in movies. Next up, the simple business of a Christopher Nolan.
    • 76 Metascore
    • 80 Ian Nathan
    Defying rote heroics and sidestepping those solemn Frodoisms lurking in the role, Lawrence seeks out the complex, human and earthy in Katniss, still the beating heart and total triumph of these movies.
    • 50 Metascore
    • 40 Ian Nathan
    With Eastern Promises and Dirty Pretty Things, screenwriter Steven Knight has proved his ear for London's darker rhythms. Here, though, there's little to raise the pulse.
    • 96 Metascore
    • 100 Ian Nathan
    Pop quiz, hotshot: you’re cut loose 375 miles above the Earth, oxygen is running out, communication is lost, catastrophic satellite debris is heading your way and you have no hope of rescue. What do you do? What do you do? The answer is the film of the year.
    • 48 Metascore
    • 40 Ian Nathan
    Good intentions, vivid setting and TLJ on top form do not make up for a lack of anything truly compelling.
    • 36 Metascore
    • 40 Ian Nathan
    However exotic the locations and starry the stars, there’s no escaping this is The Devil’s Advocate of online gambling. Fold.
    • 62 Metascore
    • 60 Ian Nathan
    42
    Already a hit in America, 42 is a well-told but square biopic doing justice to Jackie Robinson rather than exploring him.
    • 39 Metascore
    • 40 Ian Nathan
    The CG does its part of the bargain, but even more than the brighter, breezier original this is a pale imitation of Potter.
    • 65 Metascore
    • 60 Ian Nathan
    Del Toro is giving scope to a boyhood lust for mayhem, the multi-million-dollar equivalent of kicking over sandcastles and torturing insects. There is something infectiously juvenile in that.
    • 55 Metascore
    • 40 Ian Nathan
    Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.
    • 55 Metascore
    • 80 Ian Nathan
    Don’t let its commercial nosedive in the US tell the whole story. Cloud Atlas is a tough sell, but a rewarding journey all the same. It’s an adventure into the very concept of storytelling: magical, enthralling and thrilling as much as bewildering, pompous and potty. In other words, up in the clouds.
    • 55 Metascore
    • 60 Ian Nathan
    Hitchcock for dummies: brisk, jolly, well-played but oversimplified.
    • 86 Metascore
    • 100 Ian Nathan
    As unexpected as it is intelligent, thanks to virtuoso work from Spielberg and Kushner, Lincoln is landmark filmmaking, while Day-Lewis is so authentic he pulls off that stovepipe.
    • 58 Metascore
    • 60 Ian Nathan
    An uneven mix of impressively executed, violent clichés about good ol' boys defending the American right to flout the law.
    • 69 Metascore
    • 80 Ian Nathan
    No less lovely than former films, in many ways lovelier, but Brave is boutique Pixar: less ambitious, more succinct, excellence at a lower ebb.
    • 61 Metascore
    • 40 Ian Nathan
    As earnestly as they have tried to continue the formerly excellent spy series, everything Gilroy and crew concoct only serves to mock the excellence and passion with which Greengrass delivered his films.
    • 62 Metascore
    • 60 Ian Nathan
    Family dysfunction to make Jeremy Kyle blush, but thanks to McConaughey's oily power and Friedkin's unflinching purpose it's a compelling beast.
    • 64 Metascore
    • 60 Ian Nathan
    Buffeted by a lack of suspense, threadbare characters, and a very poor script, the stunning visuals, gloopy madness, and sterling Fassbenderiness can't prevent Prometheus feeling like Alien's poor relation.
    • 75 Metascore
    • 60 Ian Nathan
    With so many films adapted from novels, it's nice to see cinema paying homage to unheralded greats of literature like Sebald. While this one often struggles to do justice to his sense of grandeur and poetry, it'll be manna for fans of the German's work.
    • 48 Metascore
    • 80 Ian Nathan
    A sequel confident in what it's about - bigger, better, funnier, without stretching the joke.
    • 68 Metascore
    • 80 Ian Nathan
    Action-packed, gorgeous, and faithfully whimsical: Hergé thought Spielberg the only director capable of filming Tintin. He was onto something.
    • 76 Metascore
    • 60 Ian Nathan
    There's no question it's stunningly mounted, and Wasikowska makes a much stronger Jane than Alice, but the romance is overripe and the climax underdone.
    • 72 Metascore
    • 80 Ian Nathan
    It's nowhere close to "E. T." - what is? - but amongst the hullabaloo of summer, Super 8 is something to cherish: a beautifully made homage to better times, and better movies.
    • 85 Metascore
    • 100 Ian Nathan
    There is simply nothing like it out there: profound, idiosyncratic, complex, sincere and magical; a confirmation that cinema can aspire to art.
    • 58 Metascore
    • 60 Ian Nathan
    Not one to let slow-building tension and mystery get in the way of wild flourishes of extremism and shock, Ken Russell hit upon a story that more or less handled his structural excesses and tendency toward blasphemy.
    • 40 Metascore
    • 60 Ian Nathan
    For much of its slowburn build there is a classy, intelligent thriller at work, something closer in tone to The Odessa File. Still, you must remain guarded to how over the top and quasi-horror events will finally turn.
    • 59 Metascore
    • 80 Ian Nathan
    Genuinely creepy, satirical and occasionally daft horror tales with a distinctly moral bent.
    • 63 Metascore
    • 60 Ian Nathan
    One for the die hards. The saving grace here is a knowing sense of humour so lacking in its predecessor, For Your Eyes Only.
    • 41 Metascore
    • 20 Ian Nathan
    Pointless re-make. One of (the once great) Carpenter's worst.
    • 56 Metascore
    • 60 Ian Nathan
    Forgettable, innocent, old fashioned fairy tale with not nearly as much sexual chemistry as is required.
    • 42 Metascore
    • 40 Ian Nathan
    The jingoism is blindingly awful, but by the time of the showdown, the film has descended into an unaware parody of itself.
    • 66 Metascore
    • 40 Ian Nathan
    Bond meets Star Wars in one of the series' sillier outings.
    • 72 Metascore
    • 80 Ian Nathan
    A well-rigged whodunit based on the bestseller by Scott Turrow, that pretends to investigate the various political manipulations that haunt your average district attorney’s office but is in truth about the wages of sin.
    • 51 Metascore
    • 40 Ian Nathan
    About the dumbest movie Clint Eastwood ever put his name to.
    • 25 Metascore
    • 60 Ian Nathan
    Highly-evolved it ain't, but this Stone Age slacker is a lot of fun.
    • 66 Metascore
    • 80 Ian Nathan
    Well-paced and stunningly shot.
    • 56 Metascore
    • 60 Ian Nathan
    It's not the plot that disappoints, it's the poor dialogue between action sequences. Sadly another film to file under not as good as the book.
    • 60 Metascore
    • 40 Ian Nathan
    Running at just over four hours, it is as spectacular, lush and extravagant as the studio would have liked its audience to believe. But it also has moments of mind-numbing boredom as the plot,– slowed by extraneous dialogue, drags from Egypt to Rome.
    • 81 Metascore
    • 80 Ian Nathan
    Technology, as ever, is examined through a pessimistic prism, but the script is equipped with enough jargon and detail to expose the work and responsibility of the filmmakers.
    • 81 Metascore
    • 80 Ian Nathan
    A fulsome, fascinating piece of 20th century Irish folklore.
    • 32 Metascore
    • 80 Ian Nathan
    A stunner of unrelenting tension interrupted by action, violence and gore.
    • 64 Metascore
    • 60 Ian Nathan
    The tale from the past is very nostalgic, heartwarming and mouth-watering and all, as Idgie and Ruth cook up a storm, are kindly to their black domestics and stand up to piggy men while events fitfully progress to a courtroom climax. And Masterson is a peach. But the best bits belong to Bates as her dreary Evelyn raises her consciousness, lowers her weight and starts speaking her mind. It's a nice, pleasant celebration of friendship, but without much meat to chew on.
    • 9 Metascore
    • 20 Ian Nathan
    Despite the always-good Harvey Keitel, this is just embarassing sci-fi nonsense.
    • 45 Metascore
    • 60 Ian Nathan
    It’s ragged round the edges, but then Fritz Kiersch is working with a budget Roger Corman would laugh at, and he does a good job.
    • 69 Metascore
    • 80 Ian Nathan
    Stories about love in a world gone mad don't come any more gorgeous, or any more sweepingly epic, than this.
    • 55 Metascore
    • 80 Ian Nathan
    A modernised Bond is dragged kicking and screaming into the 70s.
    • 69 Metascore
    • 80 Ian Nathan
    Brutal story-line which is about as close to an explicit allegory as the western has ever come.
    • 53 Metascore
    • 60 Ian Nathan
    Not a masterpiece, by any stretch of the imagination, but it's pleasing to see a sequel strive so hard to reach the same heights. That it fails is through no fault of its own - the original simply raised the bar too high.
    • 46 Metascore
    • 40 Ian Nathan
    As a light family sports feel-good this works but don't look for anything more.
    • 79 Metascore
    • 40 Ian Nathan
    This is supposed to be serious hard-hitting but with most prehistoric depictions, only manages either school reconstruction or parody.
    • 60 Metascore
    • 80 Ian Nathan
    Wise (and Crichton) concoct the most absorbing, riveting take on science fiction tempered with science fact.
    • 89 Metascore
    • 100 Ian Nathan
    This magnificent, often anarchic pastiche of Russian literature’s portentous habits with a side order in Bergmanesque death wallowing actually finds Allen at his silliest. Which also means it is extraordinarily clever silliness, with designs deliberately stolen from Chaplin, Keaton and the Marx Brothers. It is film that explores comedy’s infinite variety via the medium of the existential philosophy of those big Russian sagas slumped in history like sulking teenagers.
    • 46 Metascore
    • 80 Ian Nathan
    More story-led than the original with a high enough body count to make it a satisfying action movie.
    • 56 Metascore
    • 60 Ian Nathan
    No matter how well dressed, the movie can’t escape the gravitational pull of formula. Without a convincing subtext, Black Rain is pretty dull fare indeed.
    • 67 Metascore
    • 80 Ian Nathan
    While it's all grand opera, and driven by sweeping gestures and pompous, overwritten dialogue, it is prone to plain silliness - especially in granting us the big showdown at the close. But the sheer dynamism of the action, coupled with Hans Zimmer's lavish score and the forcefield of Crowe, still makes this a fiercesome competitor in the summer movie stakes.
    • 40 Metascore
    • 40 Ian Nathan
    Largely devoid of any charm or intelligence that made other Apes films entertaining, this one should be buried in the Forbidden Zone.
    • 46 Metascore
    • 60 Ian Nathan
    Those with the patience to sit through a slow first half will be rewarded with another gutsy ending.
    • 41 Metascore
    • 60 Ian Nathan
    Clint doing roughneck humour with an orang-utan, what's not to like?
    • 49 Metascore
    • 40 Ian Nathan
    This has some very, very funny bits...interspersed with a very slight film.
    • 40 Metascore
    • 60 Ian Nathan
    Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.
    • 65 Metascore
    • 60 Ian Nathan
    The sugar level is positively diabetic, but the whole aura of warmth and cuddliness is hard to resist.
    • 67 Metascore
    • 80 Ian Nathan
    Roald Dahl's immortal, sugar-coated morality play finds Gene Wilder as disturbing and fault-ridden but compelling as the book described. Okay, so its pacing may be slightly off (taking nearly 40 minutes to arrive at the factory gates), but this is still a Golden Ticket if ever there was one.
    • 28 Metascore
    • 60 Ian Nathan
    What saves the movie is its relaxed sense of self-awareness. Reynolds all but winks at the audience with his collection of Dick Dastardly sneaks and dodges, but holds onto that winning, hangdog warmth that got him to the top of the pile in the seventies.
    • 83 Metascore
    • 80 Ian Nathan
    It's not a great film, but Lee's superhuman skills make it an occasionally jaw-dropping experience.
    • 65 Metascore
    • 40 Ian Nathan
    Certainly not Raimi at his best, but some knowing genre nods and an array of great effects make up much of the deficit.
    • 47 Metascore
    • 60 Ian Nathan
    Willow is not without its charms - the effects are more than special, the set-pieces suitably epic but it just doesn't fulfill the promise of certain other fantasy films.
    • Empire
    • 87 Metascore
    • 100 Ian Nathan
    It was the complete nightmare that invented the "summer blockbuster", launched the genius on a global scale and delivered an astonishingly effective thriller built on a very primal level: fear.
    • 78 Metascore
    • 80 Ian Nathan
    As the drama circles their inaction, this trio of excellent performances fills the screen with a form of spiritual exhaustion, and the film slumps into noir’s typically happy-clappy comeuppance of failure, betrayal and ruin. But the mood has caught on, and the film, stamped with a stunning visual emptiness, haunts the memory for long after its sour close.
    • 53 Metascore
    • 40 Ian Nathan
    Arnie still swings that sword with aplomb, but with a story this ludicrous, he's on slippery ground.
    • 37 Metascore
    • 40 Ian Nathan
    It's mindless entertainment, but its critical and commercial failure doomed the pirate genre to a watery grave.
    • 66 Metascore
    • 80 Ian Nathan
    A resonant film which has a speudo-cult status as everyone has seen it late one night on TV and it's never left them.
    • 82 Metascore
    • 60 Ian Nathan
    All gothicky, christmassy, romantic and Burtonesque. Worth a look.
    • 81 Metascore
    • 100 Ian Nathan
    A fascinating film that is by turns fascinating and mysterious.
    • 45 Metascore
    • 40 Ian Nathan
    One of the dreariest outer space swashbucklers of all time.
    • 59 Metascore
    • 60 Ian Nathan
    Connery has a ball with great stunts, snappy dialogue and a bevy of typically Bondish beauties.
    • 61 Metascore
    • 60 Ian Nathan
    Slow and foreboding with a memorably creepy Christopher Walken. If you're looking for fun, this ain't it.
    • 46 Metascore
    • 40 Ian Nathan
    The film seems to be pitched at shrieking level, as if that’s the only timbre children can register.
    • 48 Metascore
    • 60 Ian Nathan
    Very hit and miss and not a patch on the first spoof but when a joke strikes home it'll have you going for a while.
    • 68 Metascore
    • 80 Ian Nathan
    Okay, so it does cloy in places, but there is truth in its fractures and its seals, a soft-shimmering landscape of real people.
    • 93 Metascore
    • 100 Ian Nathan
    Rarely has a film bared itself to simple majesty...it feels epic yet runs barely over and hour and a half. [22 Oct. 1997]
    • 51 Metascore
    • 60 Ian Nathan
    The Net entertains but is unlikely to hang around on the cerebral hard disk for too long.
    • 79 Metascore
    • 100 Ian Nathan
    For a kids film this is pleasingly dark with Gilliam delivering as much classical fairy tale as knockabout comedy.
    • 87 Metascore
    • 100 Ian Nathan
    Possibly Lean's most complicated movie, Kwai is a towering work.
    • 31 Metascore
    • 40 Ian Nathan
    Ridiculous premise and hilarious acting which is mostly famous for the Lolita-type Brooke Shields cavorting in tropical settings.
    • 53 Metascore
    • 60 Ian Nathan
    A sci-fi which balances big themes and claustrophobic action with apparent ease.
    • 62 Metascore
    • 60 Ian Nathan
    Film is elegant but never beautiful, a pretence at Lean’s magnificence contradicted by a lavish but anachronistic score by Vangelis. It is the words and performances which excite; their director is out of his depth.
    • 66 Metascore
    • 80 Ian Nathan
    One of the least famous of Clint's Western this is an enigma of the genre with ambiguity and psychological depth all over the place.
    • 54 Metascore
    • 40 Ian Nathan
    Moore just looks confused. He obviously wants to do his thing then hit the bar for cocktails, but John Glen is nagging him to add a roughness to the slick exterior. Equally, it just doesn’t fit. The news is clear, there’s only so far you can push a Bond before it breaks.
    • 68 Metascore
    • 80 Ian Nathan
    A splendidly detailed and rousing caper movie.
    • 61 Metascore
    • 60 Ian Nathan
    Sequel manages to retain some pathos and credibility.
    • 57 Metascore
    • 80 Ian Nathan
    The sustained furore of humour, visual panache and headlong momentum makes for dazzling cinema.
    • 51 Metascore
    • 80 Ian Nathan
    That it is a cartoon that takes kids right out of the equation is the best recommendation of all.
    • 66 Metascore
    • 80 Ian Nathan
    Never revealing too much, Becker keeps us intrigued to the end, whilst Pacino and Barkin unexpectedly sizzle.
    • 64 Metascore
    • 80 Ian Nathan
    The only movie to truly deliver the visceral power of a dental drill, John Schlesinger’s taut, well written if far-fetched and baffling thriller, is the film that gives you a tooth ache in a good way.
    • 47 Metascore
    • 40 Ian Nathan
    Here is a film fully xenophobic, abhorrent film, touting guileless version of military honour, but with Jack Cardiff’s furtive camerawork and some excellent editing, it sucks you in to its disturbing heroic sweep.
    • 67 Metascore
    • 60 Ian Nathan
    A solidly made, sternly acted, and faithful realisation of the distopian novel.
    • 80 Metascore
    • 80 Ian Nathan
    There is true beauty in the realism at the heart of what could come across a fanciful movie plot, with its documentarian coolness of execution, the crisp rhythms of Zinnemann’s direction, we feels we are staring through a window into the shadowy recesses of history.
    • 71 Metascore
    • 80 Ian Nathan
    The songs and set pieces are still fresh and infectious and most of the child cast are mesmerisingly good. I defy anyone not to be caught up in the charm and nostalgia.
    • 62 Metascore
    • 60 Ian Nathan
    Unpretentious, warm, at times hilarious, it's hard to find a bad word to say about Crocodile Dundee.
    • 40 Metascore
    • 60 Ian Nathan
    A most fascinating disaster of genre making.
    • 68 Metascore
    • 80 Ian Nathan
    An unknown treasure of a fantasy film and well worth a look for fans of the genre.
    • 49 Metascore
    • 60 Ian Nathan
    Despite the ridiculous premise and casting this is still a pacey little sci-thriller.
    • 65 Metascore
    • 80 Ian Nathan
    Petersen pulls off the thrills at a stomach lurching pace, and with its requisite Hollywood ham - husband and wife reuniting over piles of haemorrhaging bodies - loud performances, crashing stunts and a fearsome, hypochondria-inducing conceit, there's barely room to catch your breath, let alone cry foul.
    • 80 Metascore
    • 80 Ian Nathan
    It’s a fairy-tale, a glittering New York fable told in a silvery black and white, laden with nostalgia for times and oddities long gone from the hallowed halls of Broadway. Another Allen gem.
    • 61 Metascore
    • 60 Ian Nathan
    For exploitation-enthusiasts and Scorsese completists only.
    • 79 Metascore
    • 80 Ian Nathan
    Superb performances, exquisite direction and that Ennio Morricone score create an authentic 1920s Chicago feel and a hugely entertaining crime drama.
    • 61 Metascore
    • 100 Ian Nathan
    Director Lewis Gilbert effortlessly marshals the intricacies of the plot (a nutty plan by SMERSH to ignite a world war), the exotic Japanese locations, and the extravagancies of having hundreds of ninja warriors abseiling into a huge enemy base unfathomably constructed in the belly of an extinct volcano (quite the engineering feat!).
    • 63 Metascore
    • 80 Ian Nathan
    No matter how good the performer you can’t escape Christie’s leisurely approach to characterisation — simple concoctions of quirk, guilt and red herring. But Lumet is having loads of credible fun with the formula, keeping up a genuine sense of claustrophobia in this isolated railway car surrounded by crisp white snow.
    • 89 Metascore
    • 100 Ian Nathan
    This is not a film about boxing. This is a film about the human condition and about cinema itself.
    • 62 Metascore
    • 60 Ian Nathan
    The acting is all first base, the script a laughable stream of gung ho-isms, the action merely solid and the effects indifferent. Yet, you still stroll out with a grin a mile wide.
    • 58 Metascore
    • 60 Ian Nathan
    One of the greatest behind-bars movies ever, the result finds director Franklin J. Schaffner making the most of both his sun-drenched locations and his leading man, who squintily acts even co-star Dustin Hoffman well off the screen.
    • 81 Metascore
    • 80 Ian Nathan
    An outstanding thriller based on a stageplay (by Frederick Knott) that fits so much better on the screen because, as well as the expansive, cinema is really good at claustrophobia.
    • 39 Metascore
    • 60 Ian Nathan
    It’s juvenilia, straight-up goofballing, but there is a tittering innocence at work here.
    • 69 Metascore
    • 80 Ian Nathan
    A truly great Western from Clint that is bleakly atmospheric and charming in turns.
    • 91 Metascore
    • 80 Ian Nathan
    A perfect ensemble of cast, photography and screenplay are all subtly handled through Huston's direction, bringing out Bogart and Hepburn's performances beautifully.
    • 66 Metascore
    • 80 Ian Nathan
    It doesn't have the dark edge of Joe Dante's other works, but brilliant performances by Martin Short and Meg Ryan make it a joy from start to finish.
    • 66 Metascore
    • 60 Ian Nathan
    Frantic is Polanski's most satisfying film since Chinatown, and one of the best traditional thrillers to come down the pike in quite some time.
    • 45 Metascore
    • 80 Ian Nathan
    Never managing to look more hi-tech or further on from 1987 than, well, Hi-tech trainers, this Arnie vehicle still runs it's bloody course without dropping many gears. A brainless, breathless thrill.
    • 80 Metascore
    • 100 Ian Nathan
    One of modern American film’s most intelligent and provocative accounts of a nation’s political failings, and a near-perfect depiction of journalism at its purist and most inspired. To be more succinct, it is quite brilliant.
    • 27 Metascore
    • 20 Ian Nathan
    Jaws but bigger, more mammal, and just plain bad.
    • 55 Metascore
    • 40 Ian Nathan
    As with all great spoofers, you can feel the love the director has for Hitchcock, the thoroughness of his jokes vouches for that and the entire plot is loosely based on Spellbound. Perhaps, he was too devoted, the film lacks daring, it’s soft, Hitch would have sneered at such weakness.
    • 58 Metascore
    • 60 Ian Nathan
    This no-brainer is fine if all you're after a bit of escapism, but don't look for anything deeper than that.

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