Oliver Lyttelton
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For 93 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% 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
  • TV
Average review score: 69
Highest review score: 100 Snowpiercer
Lowest review score: 0 Grace of Monaco
Score distribution:
  1. Positive: 65 out of 93
  2. Negative: 10 out of 93
93 movie reviews
    • 89 Metascore
    • 83 Oliver Lyttelton
    Wiseman's film is the most nourishing example of cinematic brain food you'll have all year.
    • 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.
    • 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.
    • 68 Metascore
    • 83 Oliver Lyttelton
    Mostly, the film's very funny, Sono displaying a sense of how to frame and time a visual gag that feels positively Zucker-ish. But there are real stakes, and bursts of real feeling too.
    • 75 Metascore
    • 83 Oliver Lyttelton
    Never, for one second, is Vikander anything less than entirely truthful.
    • 53 Metascore
    • 75 Oliver Lyttelton
    Has more than its share of flaws, but it also gets its balance of tones right, proving spooky, involving and occasionally resonant, while still managing to bring something new to a well-worn tale, and providing a terrific lead part for one of the most promising actresses of her generation.
    • 65 Metascore
    • 75 Oliver Lyttelton
    It's fascinating, warm and immensely watchable stuff, and fans of both Jackson and pop music in general will surely eat the film up.
    • 63 Metascore
    • 75 Oliver Lyttelton
    Midnight movie programmers of the future will undoubtedly give it a long life years after it’s gone from first-run theaters.
    • 60 Metascore
    • 75 Oliver Lyttelton
    Powerful, engaging and, by the finale, moving. And in the end, At Any Price is certainly one of the most impressive reactions to the recent economic crisis (because that’s exactly what it is) that cinema has produced so far.
    • 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.
    • 62 Metascore
    • 75 Oliver Lyttelton
    For all the film's flaws, Black brings enough to the table that it's far from a chore, and if this level of ingenuity and surprise can be maintained, there'll be no need for Tony to hang up his Iron Man helmet any time soon.
    • 65 Metascore
    • 75 Oliver Lyttelton
    Even if it doesn't quite stick the landing, there's a lot to like here; it's a fundamentally decent, very well-acted and cannily written film.
    • 78 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.
    • 61 Metascore
    • 75 Oliver Lyttelton
    As a portrait of a legitimately fascinating unlikely superstar, the film really works.
    • 71 Metascore
    • 75 Oliver Lyttelton
    It's certainly his best film.
    • 75 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.
    • 75 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.
    • 68 Metascore
    • 75 Oliver Lyttelton
    While it’s an awkward, uneven picture, that doesn’t mean that it isn’t a fascinating one.
    • 68 Metascore
    • 75 Oliver Lyttelton
    Queen & Country is hardly reinventing the wheel, but it's charming, evocative and (mostly) well-performed, and were Boorman to continue with his autobiographical cycle, we'd certainly welcome further installments.
    • 73 Metascore
    • 75 Oliver Lyttelton
    It's an ambitious attempt to meld the kind of social realism that made the names of Andrea Arnold and Clio Barnard with a stripped-down genre thriller, an attempt that's only moderately successful, though it suggests Wolfe is a filmmaker of real promise.
    • 52 Metascore
    • 67 Oliver Lyttelton
    It won't linger in the mind longer than it takes for the credits to roll, but it's a lot of fun while it lasts, and we're genuinely looking forward to part 2 at this point.
    • 54 Metascore
    • 67 Oliver Lyttelton
    It is overlong, and familiar, and never quite hits top gear -- it's never especially bad, but neither is it especially excellent, beyond the visual wow factor. But there's still a lot to admire in the film, not least that it's engaging from the first moment to the last.
    • 44 Metascore
    • 67 Oliver Lyttelton
    A smart, well-acted and well-directed picture that adds up to a little more than the sum of its parts.
    • 66 Metascore
    • 67 Oliver Lyttelton
    A sly dark comedy that doubles as a very impressive display of wordless storytelling.
    • 69 Metascore
    • 67 Oliver Lyttelton
    Coppola's screenplay neatly restructures Franco's source material into a deceptively tight narrative, and mostly proves to be raw, authentic and often very funny.
    • 50 Metascore
    • 67 Oliver Lyttelton
    There’s much to like, from Waltz’s performance to the typically rich production and costume design.
    • 67 Metascore
    • 67 Oliver Lyttelton
    For all its flaws, the film offers as compelling and fair a summary of the case and the man for those less well-versed in the tale as you could ask for from a documentary.
    • 68 Metascore
    • 67 Oliver Lyttelton
    It’s a strong and eye-catching debut, but one that doesn’t quite mark its ground as the next big thing in Israeli cinema.
    • 52 Metascore
    • 67 Oliver Lyttelton
    There are enough rough edges and interesting kinks across the two-hour running time that you come out forgiving it for the more generic elements, though we'll acknowledge that the flaws might stick out more on a second viewing, when you're not just pleasantly surprised that the whole thing isn't a stinking mess.
    • 70 Metascore
    • 67 Oliver Lyttelton
    The Winter Soldier is probably in the upper tier of Marvel pictures in terms of quality, but ultimately proves too muddled and frantic to match the heights of "The Avengers."

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