James Mottram

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For 153 reviews, this critic has graded:
  • 64% higher than the average critic
  • 5% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 5.7 points higher than other critics. (0-100 point scale)

James Mottram's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Gravity
Lowest review score: 20 Mortdecai
Score distribution:
  1. Positive: 77 out of 153
  2. Negative: 2 out of 153
153 movie reviews
    • 65 Metascore
    • 80 James Mottram
    Loud, lewd, inventive and outrageous, Deadpool is a delight. All credit to Reynolds and co. for having the steel balls to go this far.
    • 76 Metascore
    • 100 James Mottram
    Astounding. With a director, DoP and cast at the top of their game, The Revenant is a filmmaking triumph.
    • 64 Metascore
    • 60 James Mottram
    A valiant effort that never quite scales the dizzy emotional heights required, running out of oxygen in the final act. Visually, though, it’s stunning.
    • 27 Metascore
    • 40 James Mottram
    Ponderous, pretentious and, most damning of all, just not much fun.
    • 65 Metascore
    • 80 James Mottram
    With A+ acting, a solid script and sensitive handling, there’s enough here to move even the hardest of souls.
    • 38 Metascore
    • 60 James Mottram
    Fresh cast, fresh ideas and full-on action gives Taylor’s reboot momentum, even if an overloaded script threatens to topple it at times. Doesn’t touch Cameron’s two movies, of course.
    • 60 Metascore
    • 60 James Mottram
    Packed tight, Jacobs’ straightforward sequel may boast less up top than the Soderbergh-directed original, but still bulges where it counts.
    • 59 Metascore
    • 80 James Mottram
    Jurassic World is a fiendishly crafted blockbuster: old-fashioned thrills, heroism and romance, locked inside a smart, self-aware shell.
    • 78 Metascore
    • 60 James Mottram
    Not the promised insider’s peek but Assayas and Binoche are still a potent combo, nailing the fragility of an actress facing the ageing process.
    • 81 Metascore
    • 80 James Mottram
    Funny, foul-mouthed and frighteningly on-the-money, Top Five is relentlessly amusing even while it’s super-indulgent and selfabsorbed. Rock on.
    • 81 Metascore
    • 60 James Mottram
    One of the strangest films you’ll see this (or any) year, it unsettles, bores, elates and amuses in equal measure. Not for everyone, but there’s plenty to chew on.
    • 64 Metascore
    • 80 James Mottram
    Not the deepest western you’ll ever see, but it sure knows how to pack a punch (and fire off a round). Fans of the genre will get their kicks.
    • 41 Metascore
    • 80 James Mottram
    Hardy is immaculate as Leo, from accent to demeanour. Now on his fourth film with Hardy, Oldman is a pleasure to watch, and even the smallest of roles have been carefully cast, with the likes of Vincent Cassel, Paddy Considine and Clarke all enjoying their moment.
    • 42 Metascore
    • 60 James Mottram
    A competent rather than classic follow-up. If the action feels generic at times, the addition of Watts, more Winslet and the strength of Woodley are worth watching.
    • 67 Metascore
    • 80 James Mottram
    Loving and lavish, Kenneth Branagh’s take will please traditionalists more than revisionists, but there’s enough here to enchant both young and old.
    • 39 Metascore
    • 40 James Mottram
    A genuine disappointment, given the talent involved, and a rare misstep for Penn, who can’t save this moribund vanity project from flatlining.
    • 67 Metascore
    • 100 James Mottram
    Detractors may carp that Cronenberg is showing us nothing new, but Maps is so flawless in its execution, it vividly refreshes the subject matter. Never overcooking the setting, it’s a story right in his wheelhouse; a very human look at characters barely clinging to their humanity.
    • 27 Metascore
    • 20 James Mottram
    Charmless, mirthless and witless, this waste of time is another black mark on Depp’s card, while his co-stars fare little better. Even low expectations won’t help you here.
    • 89 Metascore
    • 80 James Mottram
    Powerful drama, driven by a powerhouse performance, Selma is this year’s Lincoln. For Oyelowo and DuVernay, it’s a career changer.
    • 81 Metascore
    • 80 James Mottram
    If not quite on a par with PTA’s best, this is still a richly intoxicating brew of humour, violence and melancholy.
    • 68 Metascore
    • 80 James Mottram
    On form as both director and actor, Jones crafts a mournful but moving hymn to the western. The feminist subtext, meanwhile, brings a fresh slant to the old genre.
    • 88 Metascore
    • 80 James Mottram
    Bleak but beautiful, this terrific chamber drama confirms Ceylan as one of world cinema’s leading lights. The bum-numbing length may intimidate, but there’s more than enough quality to offset it.
    • 64 Metascore
    • 60 James Mottram
    The home stretch is drenched in sticky-sweet sentiment, but Murray’s fans will rejoice at the chance to see their idol in full-on grouch mode.
    • 36 Metascore
    • 40 James Mottram
    Disappointingly limp, with precious few belly laughs, despite a try-hard attitude.
    • 73 Metascore
    • 80 James Mottram
    A finely etched character study, with Cumberbatch on towering form. Set coordinates for the Oscars.
    • 60 Metascore
    • 80 James Mottram
    Injecting fun and fairground thrills back into the spy movie, Kingsman is a blast. Firth is sensational, Jackson rules and newcomer Egerton surprises. Mission accomplished for Matthew Vaughn.
    • 62 Metascore
    • 60 James Mottram
    Adams is as watchable as ever as Margaret, backed by fine support, but the problem lies with Waltz. He’s more caricature than character, and Burton proves unable to harness his energy as well as Tarantino did.
    • 64 Metascore
    • 80 James Mottram
    Loud, intense, violent, relentless, Fury doesn’t stop until the credits roll, thanks to Ayer’s cracking direction and a committed cast. The best WW2 movie in some time.
    • 79 Metascore
    • 80 James Mottram
    MacKay is marvellous, delivering lines with a Lear-like intensity, in what becomes a fascinating meditation on myth and madness.

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