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 Gravity
Lowest review score: 0 Grace of Monaco
Score distribution:
  1. Positive: 56 out of 80
  2. Negative: 9 out of 80
80 movie reviews
    • 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.
    • 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.
    • 71 Metascore
    • 75 Oliver Lyttelton
    It's certainly his best film.
    • 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.
    • 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.
    • 54 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.
    • 57 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.
    • 51 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.