For 80 reviews, this critic has graded:
  • 57% higher than the average critic
  • 0% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 9.1 points higher than other critics. (0-100 point scale)

Oliver Lyttelton's Scores

  • Movies
Average review score: 68
Highest review score: 100 Wadjda
Lowest review score: 0 Grace of Monaco
Score distribution:
  1. Positive: 56 out of 80
  2. Negative: 9 out of 80
80 movie reviews
    • 99 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.
    • 97 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.
    • 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.
    • 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.
    • 84 Metascore
    • 100 Oliver Lyttelton
    A visionary, thrilling work.
    • 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.
    • 83 Metascore
    • 83 Oliver Lyttelton
    Wiseman's film is the most nourishing example of cinematic brain food you'll have all year.
    • 83 Metascore
    • 75 Oliver Lyttelton
    It's crisply and cleanly shot throughout, and the filmmaker shows a rare feel for how to not only make comedy land, but also to make it actually feel cinematic too.
    • 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.
    • 81 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.
    • 81 Metascore
    • 83 Oliver Lyttelton
    A very impressive film, one that can only increase the esteem in which both Knight and Hardy are held.
    • 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.
    • 80 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.
    • 80 Metascore
    • 75 Oliver Lyttelton
    The film’s undoubtedly a gorgeous look at the Australian outback, but those looking for deeper nourishment will be left a touch disappointed.
    • 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.
    • 79 Metascore
    • 42 Oliver Lyttelton
    Burshtein has devoted most of the last 20 years teaching and making film in that world, but here makes her international feature debut with a curious comedy-drama that has its strengths, but ultimately proves somewhat disappointing.
    • 76 Metascore
    • 83 Oliver Lyttelton
    It's certainly a crowd-pleaser...and something close to a triumph, if not an unqualified one.
    • 76 Metascore
    • 75 Oliver Lyttelton
    There’s so much to like about the film, and it’s a mark of Assayas’ skill that it's a hugely engaging watch despite the blankness of the characters.
    • 76 Metascore
    • 67 Oliver Lyttelton
    Though there's an admirable sense of messiness to the scenes of family life, the screenplay itself is rather neat: one has a fairly solid sense of how things are going to play out from the early stages, and for the most part that's how it goes, ticking off a checklist of rather familiar beats along the way.
    • 76 Metascore
    • 67 Oliver Lyttelton
    After meandering for a while, the story kicks into gear in the third act, with a couple of legitimately shocking and well-executed developments that do pack a punch missing elsewhere in the film.
    • 76 Metascore
    • 83 Oliver Lyttelton
    Gunn’s careful to keep the focus on the central five, but certainly proves himself capable of the bigger canvas. The film really pops visually, with an admirably bright color palette (DP Ben Davis doing excellent work), and though there are occasionally some geography issues, the action is mostly satisfying.
    • 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.
    • 75 Metascore
    • 91 Oliver Lyttelton
    Avranas makes a claim to be considered among the top ranks of international filmmakers.
    • 73 Metascore
    • 83 Oliver Lyttelton
    Joe
    It’s not exactly doing anything new, but it’s a muscular and textured piece of work that shifts assuredly through tones and genre, features a rich and rewarding performance from Cage, and another excellent turn from his young co-star Tye Sheridan.
    • 72 Metascore
    • 58 Oliver Lyttelton
    Star Trek Into Darkness is a long, long way from a disaster, but it's hard not to feel that Abrams' mystery box turned out to be a bit empty this time out.
    • 72 Metascore
    • 58 Oliver Lyttelton
    The film contains some memorable moments, and a pair of fine performances, but it’s hard not to feel that it would have proved more successful if it had stayed on the path it was heading down for the first forty minutes or so.
    • 72 Metascore
    • 67 Oliver Lyttelton
    The film’s well-written, beautifully performed (not least from Huppert, who’s typically stunning as her icy, grief-stricken matriarch, and the moving Servillo, of “Il Divo” and “Gomorrah” fame), and nicely made, if a good 15 minutes overlong.
    • 71 Metascore
    • 75 Oliver Lyttelton
    Godard's full length take on 3D is bold, brilliant and exactly what the format needed — a iconoclast taking it and making his own, and almost every time he frames a shot in three dimensions, from opening credits to the final moments, there's something attention-grabbing going on.
    • 71 Metascore
    • 83 Oliver Lyttelton
    22 Jump Street might not be quite as good as "21 Jump Street," but it's remarkably close, to the point where subsequent viewings could see it elevated above its predecessor.