For 1,290 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 0.2 points lower than other critics. (0-100 point scale)

Liam Lacey's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Slumdog Millionaire
Lowest review score: 0 People Like Us
Score distribution:
1,290 movie reviews
    • 83 Metascore
    • 75 Liam Lacey
    Obviously, this is no easy sell, but give writer-director Siddiq Barmak full credit for portraying his country's social catastrophe with restraint, concision and some real beauty.
    • 81 Metascore
    • 75 Liam Lacey
    Even when the plots of sexual confusions, transgression and tragedy became absurdly complicated and arbitrary, there was always the mise-en-scène to die for.
    • 94 Metascore
    • 75 Liam Lacey
    The [final] battle is vast, and undoubtedly required thousands of hours of matching puppetry, robotics and computer code, but it is not without tedium.
    • 64 Metascore
    • 75 Liam Lacey
    Avenue Montaigne is not a film to be taken too earnestly, but it would be a mistake to miss its bittersweet undertones. The movie is as airy as a spun-sugar dessert, but Thompson's observations on the artistic life are both affectionate and knowing: Beauty and wealth, though inevitably compelling, are appreciated as means to humane ends, not goals in themselves.
    • 58 Metascore
    • 75 Liam Lacey
    There's something genuinely exploratory and original here in the depiction of people being pushed into adulthood before they're ready.
    • 69 Metascore
    • 75 Liam Lacey
    Though Babel lacks any tragic sense of inevitability, it almost compensates with a handful of vibrant performances and the palpable physical texture of the settings.
    • The Globe and Mail (Toronto)
    • 69 Metascore
    • 75 Liam Lacey
    The interest here is about watching Hardy, bouncing off Gandolfini and the other cast members, as a quiet man who has turned being underestimated into his primary survival skill. And all the while we wait for the moment when Bob the puppy grows into Bob the pit bull.
    • 75 Metascore
    • 75 Liam Lacey
    Whether Omar will ultimately serve to change or harden hearts remains ambiguous, though it’s a movie that’s entertaining enough to appeal to the kinds of ordinary kids we see in the movie.
    • 83 Metascore
    • 75 Liam Lacey
    The work is more muted than Miyazaki’s more fantastical films, but visually complex and gorgeous, from the rustic mountain scenes to the urban scenes and soaring aerial views.
    • 80 Metascore
    • 75 Liam Lacey
    As usual, the Coens' visual elements are pristine. The contrasting colours in the fire-lit interiors are gorgeous, while cinematographer Roger Deakins keeps the camera close, resisting traditional panoramic views.
    • 81 Metascore
    • 75 Liam Lacey
    Fortunately, there's always the fascination of watching actor Toni Servillo, who does a brilliant job of playing Andreotti (known as Beelzebub) as a kind of devil with a clown's exterior.
    • 68 Metascore
    • 75 Liam Lacey
    Though the threat of exposure and incarceration lurk behind every story, the characters' ingenuity and humour serve as impudent alternatives to authoritarian stupidity and brutality.
    • 61 Metascore
    • 75 Liam Lacey
    It's a screwball comedy, with a possible debt to Preston Sturges's 1942 film, "The Miracle of Morgan Creek," a movie inspired by the Dionne quintuplets, and similarly set in a small town turned upside down by media and political showboating.
    • 90 Metascore
    • 75 Liam Lacey
    A horror movie based on history, offering some of the most spectacularly brutal, viscerally intense battle scenes ever brought to a Hollywood movie.
    • 80 Metascore
    • 75 Liam Lacey
    In many areas, Food Inc. could be accused of being a fast-food version of a documentary – it's everywhere at once, skipping across the surface of a vast subject, and adding nuggets of sweetness to the scary filler.
    • 83 Metascore
    • 75 Liam Lacey
    The film is an attack on religious hypocrisy, mixing melodrama and black humour in a volatile blend.
    • 71 Metascore
    • 75 Liam Lacey
    A very funny, very unusual ensemble comedy that falls somewhere between slapdash and brilliant, an improvised comedy with more hits than misses. It's also an oddly touching tribute to the joys of show biz.
    • 74 Metascore
    • 75 Liam Lacey
    Smart, serious and deftly composed, New York director Jill Sprecher's jigsaw anthology film, Thirteen Conversations About One Thing, is the kind of work you want to applaud just for its ambitions.
    • 67 Metascore
    • 75 Liam Lacey
    Zathura involves a lot of yelling, a lot of explosions and a lot of flying objects -- but what else would you expect from a movie that is, honestly for a change, intended for 10-year-old boys?
    • 77 Metascore
    • 75 Liam Lacey
    A Touch of Sin is a distinct departure, dipping into the pulpy martial arts tradition in a scathing portrait of post-Maoist China, where money is the new religion and horrific violence is its by-product.
    • 69 Metascore
    • 75 Liam Lacey
    The film is a vertiginous experience of hanging 350 kilometres above the Earth.
    • 73 Metascore
    • 75 Liam Lacey
    Undoubtedly the rudest and possibly the most inspired comedy of the summer.
    • 64 Metascore
    • 75 Liam Lacey
    Though there are moments when the drama turns into intellectual debate, the film is also emotional, moving with a fluid, mounting tension and moments of anguish and strange, startling humour.
    • 75 Metascore
    • 75 Liam Lacey
    An unusually smartly written and performed American independent film.
    • 66 Metascore
    • 75 Liam Lacey
    The best of The Desolation of Smaug is saved for the last, when Bilbo goes to steal from the massive fire-breathing dragon, Smaug. The orange-eyed beast is voiced by Benedict Cumberbatch, who, through a sludge of voice-altering electronics, seethes and preens between fiery exhalations; this scene is one of the few occasions in the film where anyone actually takes time to talk.
    • 68 Metascore
    • 75 Liam Lacey
    Yet, about as often as Marvin's Room strikes a chord of emotional authenticity, it hits a fistful of false notes as well.
    • 76 Metascore
    • 75 Liam Lacey
    Timoner offers a resonant, often painfully funny, drama about two good friends who become enemies against the backdrop of the pop-music business.
    • 84 Metascore
    • 75 Liam Lacey
    The freestyle approach is an apt fit with the freestyle, spontaneous comedy, as both the playful director and affable star capture moments on the fly.
    • 79 Metascore
    • 75 Liam Lacey
    The pitch on Dear White People is that it’s “Do the Right Thing for the Obama generation,” which is both an oversell and a disservice to Justin Simien’s witty satire about race relations on a fictional Ivy League campus.
    • 71 Metascore
    • 75 Liam Lacey
    Mostly, it's a Coen brothers movie so slick, so careful in rationing its darkly perverse and personal elements, that it seems suspiciously sweet. Intolerable Cruelty feels like the Coens' peculiar new way of being cynical, by pretending they're not.

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