Oliver Lyttelton
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For 82 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 8.8 points higher than other critics. (0-100 point scale)

Oliver Lyttelton's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Wuthering Heights
Lowest review score: 0 Grace of Monaco
Score distribution:
  1. Positive: 57 out of 82
  2. Negative: 9 out of 82
82 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.
    • 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.
    • 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.
    • 96 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.
    • 87 Metascore
    • 91 Oliver Lyttelton
    It's a remarkably gorgeous piece of work.
    • 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.
    • 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.
    • 61 Metascore
    • 83 Oliver Lyttelton
    For all its abrasiveness, the film is also capable of real tenderness.
    • 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.
    • 76 Metascore
    • 83 Oliver Lyttelton
    It's certainly a crowd-pleaser...and something close to a triumph, if not an unqualified one.
    • 81 Metascore
    • 83 Oliver Lyttelton
    A very impressive film, one that can only increase the esteem in which both Knight and Hardy are held.
    • 71 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.
    • 83 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.
    • 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.
    • 77 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.
    • 71 Metascore
    • 75 Oliver Lyttelton
    It's certainly his best film.
    • 74 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.
    • 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.
    • 69 Metascore
    • 75 Oliver Lyttelton
    While it’s an awkward, uneven picture, that doesn’t mean that it isn’t a fascinating one.
    • 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."
    • 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
    • 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.
    • 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.
    • 58 Metascore
    • 67 Oliver Lyttelton
    It is very much a first film, albeit one of rare ambition, and there's every reason to think that Benson will nail it next time around. The film's absolutely worth watching for the performances alone... But in and of itself, the "Them" version of The Disappearance Of Eleanor Rigby doesn't quite add up to the sum of its parts.
    • 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
    • 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.
    • 61 Metascore
    • 58 Oliver Lyttelton
    While there's a lot of fun to be had, Furious 6 doesn't quite hit the insane heights of "Fast Five," but we're sure it'll delight franchise fans who mostly want to see bald people butt heads, and moving vehicles crash into other moving vehicles.
    • 63 Metascore
    • 58 Oliver Lyttelton
    The film can be engaging, well-made, and even a touch more interesting than it has much right to be. But it's also far from a satisfying work as a whole.
    • 49 Metascore
    • 58 Oliver Lyttelton
    The tension really is beautifully ramped up in these early scenes and gets an audience well prepped to watch carnage unfold around people you've truly come to care about. Then, when the thing goes off, it's not with a bang but with something more like a a whimper.
    • 64 Metascore
    • 50 Oliver Lyttelton
    Quartet is a hard film to dislike entirely, thanks principally to the charms of its cast.
    • 60 Metascore
    • 50 Oliver Lyttelton
    It’s never a painful watch, more of a faintly dull, seen-it-all-before one. If nothing else, it’s evidence that these days, being based on a true story isn’t enough to elevate a film in a well-worn genre ahead of the pack.
    • 69 Metascore
    • 50 Oliver Lyttelton
    From a procedural perspective, the film is an insightful look into the life of a Secretary Of Defense, but as an exploration into how the war in Iraq was allowed to happen, it’s much, much less satisfying
    • 54 Metascore
    • 50 Oliver Lyttelton
    A film that is enjoyable in spots, but haphazard and ultimately unsatisfying.
    • 71 Metascore
    • 50 Oliver Lyttelton
    There are moments of beauty and charm, but also ones that felt rather broad, like an extract from a live-action Disney movie or something. It is fitfully interesting, but nearly broke our twee detectors.
    • 66 Metascore
    • 50 Oliver Lyttelton
    Miller's documentary skills seem solid enough, but this particular story needed more objectivity, and a lot more rigor, to be worth telling in this manner.
    • 70 Metascore
    • 42 Oliver Lyttelton
    There are pleasures to be found in "Chicken with Plums" to be certain, but we'd hope for something a little more satisfying next time out from the directing team.
    • 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.
    • 35 Metascore
    • 42 Oliver Lyttelton
    Given the talent assembled, the emptiness at its center only makes it feel like more of a waste. But it does look great, it does sound great (the score, by "Drive" soundtrack contributor Johnny Jewel, is one of the film's best elements), and can be fitfully interesting.
    • 48 Metascore
    • 42 Oliver Lyttelton
    Jeunet occasionally reminds you why he was once considered one of the most exciting names in world cinema. But for the most part, it’s another visually interesting, somewhat hollow misfire.
    • 54 Metascore
    • 33 Oliver Lyttelton
    Kiefer Sutherland feels somewhat miscast as the mentor, but nowhere near as badly as Hudson is as the love interest. In all fairness, it’s a nightmare of a part, an artist (whose art is, as it turns out, is terrible) haunted by the recent death of her boyfriend, and seemingly unable to read basic human feelings and emotion. But Hudson doesn’t really help things, coming across more often than not as unintentionally funny.
    • 36 Metascore
    • 33 Oliver Lyttelton
    Leconte’s never been the edgiest of filmmakers, but A Promise is so free of anything close to an edge that it’s like watching a beige sphere for ninety-odd minutes—and it feels much longer.
    • 57 Metascore
    • 25 Oliver Lyttelton
    The meat of the film is sadly, a tedious misstep for a director who, even when he's experimented in the past, has generally come up with something more interesting than this. It is, however, still better than "9 Songs"
    • 41 Metascore
    • 25 Oliver Lyttelton
    Perhaps hardcore Jet Li fans will be able to get some joy out of it, but we'd suspect that even they will struggle with this one.
    • 50 Metascore
    • 25 Oliver Lyttelton
    The whole thing feels sort of tossed off, like it was made by film students over a couple of weekends.
    • 53 Metascore
    • 25 Oliver Lyttelton
    The film, like the original, feels very haphazardly structured, a hotchpotch collection of scenes rather than a unified whole. There's also no tonal consistency, with Webb lurching awkwardly from quippy comedy to brooding drama to high tragedy in short spaces of time, undercutting all three modes as a result.
    • 36 Metascore
    • 25 Oliver Lyttelton
    One can’t fault Hazanavicius’ motivations too much, especially given the lack of attention given to the events in Chechnya over the past fifteen years... It’s just a shame that he does it such a banal and trite way.
    • 51 Metascore
    • 16 Oliver Lyttelton
    There's a pleasing egalitarianism to the film's history-through-the-eyes-of-the-ordinary-man concept, but the script rarely makes the case that their versions are compelling enough to warrant a film.
    • 21 Metascore
    • 0 Oliver Lyttelton
    Rarely competent, unintentionally hilarious and borderline reprehensible in both its politics and its take on gender roles.