Oliver Lyttelton

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For 109 reviews, this critic has graded:
  • 56% higher than the average critic
  • 0% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 8.8 points higher than other critics. (0-100 point scale)

Oliver Lyttelton's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Wuthering Heights
Lowest review score: 0 The Sea of Trees
Score distribution:
  1. Positive: 76 out of 109
  2. Negative: 12 out of 109
109 movie reviews
    • 69 Metascore
    • 100 Oliver Lyttelton
    Alps has proven Lanthimos to be one of the most fascinating filmmakers anywhere right now.
    • 70 Metascore
    • 100 Oliver Lyttelton
    Wuthering Heights is a model of how to bring a classic novel kicking and screaming into the twenty-first century.
    • 82 Metascore
    • 100 Oliver Lyttelton
    The film isn’t a white knuckle ride, and the pacing can be slow at times, but this is one of those cases where that’s sort of the point, and you certainly don’t begrudge it. A Hijacking is an absorbing, highly moving film.
    • 81 Metascore
    • 100 Oliver Lyttelton
    One of the best films of the year.
    • 96 Metascore
    • 100 Oliver Lyttelton
    Gravity is about as visceral an experience as you can have in a cinema, it’s a technical marvel, and it’s a blockbuster with heart and soul in spades.
    • 81 Metascore
    • 100 Oliver Lyttelton
    It's a state-of-the-nation masterwork, a vitally important piece of work, and should be seen by as many people as possible.
    • 84 Metascore
    • 100 Oliver Lyttelton
    A visionary, thrilling work.
    • 92 Metascore
    • 100 Oliver Lyttelton
    If there was ever any doubt as to Zvyagintsev's position as one of world cinema's foremost auteurs, it's put to rest here. His filmmaking has always been superb, but he's never taken on the state of his nation in the way he does here. And that makes "Leviathan" not just masterful but also hugely important.
    • 78 Metascore
    • 100 Oliver Lyttelton
    The picture is a triumph: it's arguably Garland’s tightest and most fascinating screenplay to date, brought to life with meticulous filmmaking and sensational performances. It's the first great film of 2015.
    • 79 Metascore
    • 100 Oliver Lyttelton
    Lafleur maintains a bouncy, consistently funny tone that you'd describe as featherlight, were there not real weight grounding it all. It's a near-miraculous trick, and evidence of the immense talent on display here: he has a real talent for making comedy work visually, and as you might expect from a former editor, a sense not just for landing a joke, but for creating a unique and distinctive rhythm.
    • 83 Metascore
    • 100 Oliver Lyttelton
    In the end, all the strangeness adds up towards something genuinely significant: an atypically rich and substantial comedy that's stuffed with great scenes and performances even before you start to chew on its bigger questions.
    • 58 Metascore
    • 91 Oliver Lyttelton
    A beautiful, hearfelt and raw piece of work.
    • 91 Metascore
    • 91 Oliver Lyttelton
    Fans of Polley’s work to date will be delighted by a documentary that serves simultaneously as a gripping mystery, a moving record of a family and a fascinating investigation into the nature of truth, memory, and the documentary form itself.
    • 61 Metascore
    • 91 Oliver Lyttelton
    The film's not merely content with being a twisty psycho-thriller. Boyle and Hodge expertly tweak and tinker with your sympathies, and the characters you initially peg as heroes and villains may not be in the same place by the time things wrap up.
    • 80 Metascore
    • 91 Oliver Lyttelton
    Strickland' command of tone, aided by Oscar-winning "Slumdog Millionaire" editor Chris Dickens and, of course, sonic wizards Joakim Sundstrom and Steve Haywood, is masterful, jarring and discombobulating the viewer as Gilderoy's mind unravels.
    • 83 Metascore
    • 91 Oliver Lyttelton
    It might not be the director's most immediately accessible films, but it's among his most fascinating and beguiling.
    • 75 Metascore
    • 91 Oliver Lyttelton
    Eisenberg does an enormous amount with what he has, proving to be sinister and vulnerable virtually within the same breath, and expertly putting across the torment he’s going through.
    • 84 Metascore
    • 91 Oliver Lyttelton
    The filmmaking here is almost impossibly well-realized, right down to the evocative sound design, adding up to an fairly unforgettable experience.
    • 75 Metascore
    • 91 Oliver Lyttelton
    Avranas makes a claim to be considered among the top ranks of international filmmakers.
    • 94 Metascore
    • 91 Oliver Lyttelton
    Mr Turner, though not without flaws, is something of a twilight culmination of Leigh's work, and very much one in which the filmmaker turns his lens on himself, as is so often the case when directors make movies about artists.
    • 89 Metascore
    • 91 Oliver Lyttelton
    It's a remarkably gorgeous piece of work.
    • 79 Metascore
    • 91 Oliver Lyttelton
    The filmmaking is admittedly functional rather than particularly artful, but you somewhat appreciate that Warchus is determined to distract you as little as possible from the story and characters.
    • 77 Metascore
    • 91 Oliver Lyttelton
    Paddington is totally delightful.
    • 78 Metascore
    • 91 Oliver Lyttelton
    An exciting, splattery, funny genre movie that somehow never once feels disposable.
    • 66 Metascore
    • 91 Oliver Lyttelton
    Trier’s sensibility for the dynamics of family, for the depiction of nebulous memory, and for the detail of life (the film’s full of beautiful, complex scenes), means that I’m already eager to take a second look and see what else there is to unpack.
    • 78 Metascore
    • 91 Oliver Lyttelton
    This really is Audiard operating at the top of his game, mostly dropping the contrivances of "Rust & Bone" for incisive character studies and a deeply humane, almost warm, worldview.
    • 88 Metascore
    • 91 Oliver Lyttelton
    The film doesn't reinvent the wheel: it is, ultimately, a middle-class-white-boy coming-of-age tale of the kind that the cinema of France, and elsewhere, has never been lacking. But it's written, shot, cut and performed with such palpable joy, intelligence and warmth that it ends up feeling entirely fresh.
    • 62 Metascore
    • 83 Oliver Lyttelton
    It won't change the face of cinema history, and it won't win any awards (it's too downright dirty for that), but it's furiously entertaining, and a very strong piece of drama from a director who hasn't much luck in the last thirty-odd years.
    • 63 Metascore
    • 83 Oliver Lyttelton
    Both fascinatingly theatrical and thrillingly cinematic, a picture that's lingered on our minds more than we expected.
    • 81 Metascore
    • 83 Oliver Lyttelton
    Best of all is the bad guy. Javier Bardem was always a tantalizing choice to play a Bond villain, and his Silva is a terrific creation, and certainly the most memorable villain in the series in decades.

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