Oliver Lyttelton

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For 135 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 6.2 points higher than other critics. (0-100 point scale)

Oliver Lyttelton's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Arabian Nights: Volume 1, The Restless One
Lowest review score: 0 The Sea of Trees
Score distribution:
  1. Positive: 87 out of 135
  2. Negative: 13 out of 135
135 movie reviews
    • 76 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.
    • 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.
    • 74 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.
    • 77 Metascore
    • 83 Oliver Lyttelton
    It's certainly a crowd-pleaser...and something close to a triumph, if not an unqualified one.
    • 70 Metascore
    • 83 Oliver Lyttelton
    As ever, Moretti creates a rich and incredibly detailed world, one where every character has a life that stretches far beyond their on-screen scenes.
    • 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.
    • 61 Metascore
    • 83 Oliver Lyttelton
    For all its abrasiveness, the film is also capable of real tenderness.
    • 89 Metascore
    • 83 Oliver Lyttelton
    Wiseman's film is the most nourishing example of cinematic brain food you'll have all year.
    • 89 Metascore
    • 83 Oliver Lyttelton
    Though it has a few elements of its construction that might be questionable, it's mostly a powerful, thoughtful, and visually striking picture.
    • 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.
    • 71 Metascore
    • 83 Oliver Lyttelton
    For the most part, the breadth of its examination of the subject is welcome, and by the end, it ends up feeling like as definitive a film on comedy and the Holocaust as you could ever want.
    • 49 Metascore
    • 83 Oliver Lyttelton
    For most of the run-time, Welcome To The Punch is thrillingly cinematic, beautifully made, smarter and funnier than you'd expect, and a phenomenal showcase for Creevy and his team.
    • 80 Metascore
    • 83 Oliver Lyttelton
    It’s dizzying stuff, and virtually everything that Gomes tries his hand to works: it’s a film that’s moving, sad, exciting, fiery, and funny.
    • 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.
    • 81 Metascore
    • 83 Oliver Lyttelton
    A very impressive film, one that can only increase the esteem in which both Knight and Hardy are held.
    • 76 Metascore
    • 83 Oliver Lyttelton
    Never, for one second, is Vikander anything less than entirely truthful.
    • 67 Metascore
    • 83 Oliver Lyttelton
    The film is a sickly enjoyable wallow in the scandalous, fucked-up side of showbusiness, and a real return to form for the filmmaker.
    • 63 Metascore
    • 83 Oliver Lyttelton
    Both fascinatingly theatrical and thrillingly cinematic, a picture that's lingered on our minds more than we expected.
    • 70 Metascore
    • 83 Oliver Lyttelton
    The book is so counter to our contemporary narrative demands that liberties would need to be taken for a movie version, and for the most part Osborne takes the right liberties, ending up with an extremely beautiful, very charming, thematically rich take that’s sure to be one of the better animated movies this year.
    • 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.
    • 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.
    • 73 Metascore
    • 75 Oliver Lyttelton
    Even if the film isn’t entirely to my taste, it’s a provocative and powerfully made piece of work.
    • 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.
    • 66 Metascore
    • 75 Oliver Lyttelton
    Without patronizing or condescending, it’s an examination of how fame can change us and haunt us, and of the complicated relationships that survivors of something like “Star Wars” can have with it.
    • 65 Metascore
    • 75 Oliver Lyttelton
    The filmmaker has a real gift for getting into the political context of her stories while never neglecting the personal, and seeing the Khamas gradually win over his people, while still battling the British establishment, is gripping, rewarding and eventually moving.
    • 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.
    • 64 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.
    • 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.
    • 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.
    • 61 Metascore
    • 75 Oliver Lyttelton
    As a portrait of a legitimately fascinating unlikely superstar, the film really works.

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